Roadblaster #03 - Blood Ride

I am requesting that this book be enshrined into the Library of Congress. Paul Hofrichter, aka He Who Creates the Horror, should be commended for not only this novel, but the trilogy of trophies known as the ‘Roadblaster’ series. It’s truly extraordinary, a spectacle of grand design. Those of you familiar with my reviews of this novel’s predecessors, “Hell Ride” and “Death Ride”, understand just how low I place this author on the rungs descending into that scorching, skin-searing abyss known as Hell. “Blood Ride” far surpasses the legendary status of the prior books and lowers to the ranks of what can only be deemed as the new "worst piece of fiction ever created". It’s an utter abomination worthy of high praise and endless critique at world-renowned libraries like the Reading Room of the British Museum and The Vatican. I’d like great Monasteries like Saint Gall and Benedictine to marvel over its printed pages for centuries to come.

Paul Hofrichter, the horror…the absolute horror.

Stack, our “Roadblaster”, begins this final chapter of spiraling doom with a visit with a biker gang aptly titled The Harley Davidson Club. They request that he accompany them across the Golden Gate Bridge to locate two sisters of a deceased gang member. It’s only four days after the nuclear bombs annihilated America and Stack is concerned about his parents, kids and loving wife back in New York. Rather than mourn the potential melting of his entire family, he graciously accepts the offer. At one point, the narrator explains that Stack wants the military to fly him – a New York city cab driver by trade – to New York so he can check on his loved ones. He clarifies to a biker that he can’t drive his van across the US for fear of depleting his fuel or experiencing engine failure. He dismisses the fact that cars are strewn everywhere, and that fuel should be in abundance considering the nukes just fell and people are still driving. But, instead of vanning cross-country, he’s walking across the cables to a stranger’s house to locate two sisters that are probably dead. The walk…takes 60 pages.

Mercifully, Stack reaches the other side, and, instead of searching the ruins of the house, he sits down for lunch. Later, an elderly man swings by hoping that Stack will offer his tuna. Stack doesn’t and the whole chapter is just awkwardly dedicated to…lunch. Food is brought up again in the next chapter as Stack and the group disregard the importance of searching for bodies and decide a night at the beach frolicking and eating crabs is an important use of precious time. In 12-pages of utter nonsense, Hofrichter explains that it’s a cruelty to cook crabs while they are alive. He goes on for pages and pages of how barbaric it is to eat crabs and lobsters boiled or broiled. At one point, the group can’t properly boil the crabs, so they fetch a pot of dirty, radioactive seawater to use. After crabs, an aimless Stack gets invited by a female colleague to engage in anal sex (because she doesn’t want to become pregnant). Stack, consistently demanding more than anyone in this post-apocalypse nightmare, says it physically hurts too much. The female, in her infinite wisdom, requests he run to the water and fetch another cup of dirty, radioactive seawater and pour that on his penis and reenter. I barely have words.

Somewhere, around page 160ish, Stack is thinking about the abandoned B-52 in the mountains. If you will recall, the first book discussed the bomber and a motorcycle gang in demand for a B-52. The stereotypical gang, The Bloodsuckers, are still running around wanting this plane so they can rule California, eat pizza and commit intercourse with the state’s residents. They are big on intercourse. So, they remain in the book and the author spends time introducing us to them in long backstories with absolutely no point or story development. One character he describes as angry because of his “prison experience”. Apparently, this guy could only masturbate on his cot with his knees bent. He wanted to do it lying completely flat but couldn’t due to the gay prisoners seeing him. This experience has made him angry with the world and only a B-52 bomber can expel that pent-up sexual frustration. There are pages of this, so much that with only 20-pages remaining the plot finally rears its ugly head.

Stack wants to use a Soda Truck (let’s call it “Shasta”) to transport the missiles and bombs from the plane’s wings and undercarriage. He has no tools for this and the weapons weigh over 500-pounds. Once he places them on Shasta, he will then drive them to a river, load them on canoes and float them into an underwater cave. The reason? He feels if they are left in the sun for an extended period they will heat, creating an explosion. Thus, placing them on water in an underground cave resolves this potential environmental disaster. The Bloodsuckers appear. Stack and his group shoot at them. The Bloodsuckers go back home. Telos. The End.

At the 160th page of this 190-page book…we still don’t have purpose, planning or anything remotely resembling a damn plot or what is promised to us on the cover. At the end, we still don’t. We deserved that cloak and smoking CAR-15 and we damn sure deserved that painted motorcycle-outlaw cave shit at the bottom. Hofrichter, you thief extraordinaire, you baited and hooked us again only to troll us at the deepest depths like some slimy, trash eating carp. I’m gutted, defeated and scorned…but in your unskillful brilliance you have miraculously provoked me to tell others about this literary monstrosity. Somehow, your ‘Roadblaster’ atrocities will live eternally, carrying on long after I’ve departed this world. For that, I applaud your half-assed effort and bow to your coveted immortality.

White Squaw #02 - Boomtown Bust

Of all the series released during the golden age of action/adventure paperbacks, 'White Squaw' is one of the most sordid. It's written by Mark K. Roberts as house name E.J. Hunter. The premise is that a young woman roams the Old West on a mission of vengeance against the outlaw gang that had traded her to the Sioux as a teen. There she was treated as a slave before being assigned to a disgusting and sexually demanding old man as his bride. 

That’s just for starters. Plenty of unsavory things happen in the debut novel, “Sioux Wildfire”, but the follow-up is simply jaw-dropping. In “Boomtown Bust”, that outlaw gang takes over a Colorado town, subduing the locals with a great deal of brutality. Our heroine, Rebecca, rides in and kills several of the owlhoots before she’s captured and forced into prostitution and opium addiction in the local brothel. She’s also raped by the sadistic whip-wielding lesbian madam, who forces herself upon a 12-year-old girl as well.

Ultimately, of course, Rebecca escapes and brings about some six-gun justice with the help of the outraged citizenry. Not all of the guilty will pay for what they’ve done, but with a couple dozen novels in this series, there will be plenty of time for that later. The most interesting of the outlaws (a 300-pound degenerate toilet seat-sniffing child molester carried over from the first book) does get his due, in an excellent confrontation scene. 

There’s nothing wrong with pulp fiction being lurid, but there’s a difference between stuff that’s loopy and exciting, versus stuff that’s just cruel and depressing. We mostly get the latter in “Boomtown Bust”, including a description of a child being raped and murdered which runs for a full page, dropped inexplicably into the middle of the novel’s action climax. 

Frequent sex scenes (of the consenting adults variety) are a counterpoint to all this. The younger the reader, the more titillating these will be, I guess. But they’re not very steamy, and they’re loaded with purple prose euphemisms that are more amusing than arousing: a “long, thick pole of flesh,” Rebecca’s “warm cave of pungent nectar,” a “surging love dagger,” her “burning cavern,” etc.

No, it isn’t exactly Zane Grey. You know from glancing at any of the covers that the 'White Squaw' books are lightweight and trashy, and there’s nothing wrong with that. I just prefer my lurid trash to be fun, with dramatic tension, suspense and memorable characters. I didn’t really get that from “Boomtown Bust”, but I did keep turning those pages.

Kiss and Kill

Richard Deming was a 20th century pulp author with a specialty in crime fiction. Later in life, he wrote branded paperback tie-ins for 'Mod Squad', 'Dragnet' and 'Starsky and Hutch'. His 1960 short crime novel “Kiss and Kill” was a mid-career effort originally published in the US by Zenith Books and since reprinted by Armchair Fiction.

The book is a darn masterpiece.

Small-time con-man Sam Carter meets a fellow bunco artist named Mavis. They decide to marry, team up and seek out bigger cons. The angle they develop involves posing as brother and sister, targeting wealthy spinsters for Sam to marry and then making off with his new wife’s cash.

Without spoiling anything, the first person narration (Sam tells the story) recalls a Jim Thompson styled sociopathic anti-hero. Mavis is a sexy and devoted partner toggling between her role as a lusty wife and a chaste sister. The plotting is crisp and efficient and reminded me of Harry Whittington at his best. Finally, the twist ending will leave you howling and dying to read more of Deming’s work.

Fans of hard-boiled con-game crime fiction should drop everything and get a copy of this one. It’s hard to understate the perfection of this quick read. Highly recommended. Essential reading.

Hit and Run

The December 1954 issue of “Manhunt” featured a “Complete New Novel” by hardboiled crime writer Richard Deming called “Hit and Run.” The original novella was later expanded by Deming into a lean Pocketbooks paperback release in 1960. “Hit and Run” is an amazingly good story about a hard-luck private eye named Barney who happens to witness a hit-and-run accident involving a beautiful woman driver. He concocts a scheme to blackmail her into engaging him to cover up the accident and keep her out of trouble. From there, Deming takes the reader on a twisty ride not unlike the violent Fawcett Gold Medal short novels of that era. It’s hard to summarize the plot any further without spoiling several jaw-dropping plot twists, but suffice to say that this short novel was a total delight and is worth hunting down.

Night Has A Thousand Eyes

"Night Has a Thousand Eyes" is a highly-regarded 1945 noir suspense classic written by Cornell Woolrich (“Rear Window”) under the pen name of George Hopley. It was later reprinted under Woolrich’s more successful pseudonym, William Irish, and in the modern era, under Woolrich’s own name. After it’s release, the novel was adapted for the screen in 1948 starring Edward G. Robinson, and the movie’s theme song became a hit and lives on as a jazz standard.

The story opens with good-hearted loner police detective, Tom Shawn, saving a distressed 20 year-old woman, Jean Reid, from jumping off a bridge in the middle of the night. He corrals her to a safe place to hear her story.

In Chapter Two, the story toggles into the first-person narration as Jean tells her tale to Detective Shawn. The story of her spooky journey to the bridge’s railing takes up about the first half of the novel, and we learn that Jean is the wealthy daughter of a successful silk importer living on the U.S. east coast (city unmentioned) in a large estate filled with servants.

While Jean’s beloved father was away on a west-coast business trip, a servant confides that the servant’s psychic friend had a vision that Daddy’s return flight would crash. Knowing that clairvoyants are hogwash, Jean initially dismisses the prediction as nonsense and banishes the servant from the estate. As the return flight time grows closer, Jean grows panicky and desperately tries to telegram her father to have him skip the flight. Before Daddy could get the message, the plane crashes in the Rocky Mountains with no survivors.

Any more details would be spoiling some pretty cool plot points. Suffice it to say that Jean and a companion spend much of the novel’s first half tracking down the psychic to determine how this reclusive oracle could have known about the crash in advance. Supernatural powers? Fraud? Foul Play? The psychic’s subsequently accurate predictions further support Jean’s belief in the claimed supernatural powers.

The novel’s second half cuts back to the third-person narration where the reader re-joins Jean, fresh from a thwarted suicide attempt, and Detective Shawn, ready to investigate the authenticity of Jean’s fantastic story of a seemingly-accurate clairvoyant along with a team of police colleagues. The police procedural half of the book was the stronger of the two halves and helps justify the book’s claim to classic status.

Woolrich was a talented writer and the pages are filled with rich prose designed to evoke a dark mood. It’s clear that he regarded this novel to be an important work of literary fiction rather than a genre paycheck. At times, this made for a wordy, slow-moving slog as the simplest action (walking from a car to the psychic’s front door, for example) takes pages to complete when it could have been an economical simple sentence. The things that happen in this novel are occasionally interesting, but it takes pages and pages of hand-wringing and emotional torment for the actions to actually occur. This 368 page novel only had enough actual plot to fill a lean 150-page novella.

The other problem with the book (primarily the first half) is our heroine protagonist. Jean is a clingy, spoiled rich girl caught in a perpetual emotional wreck. Her story and overwrought tone have all the hallmarks of a melodramatic gothic novel. In fact, one of the many reprintings of the book was marketed as “A Paperback Library Gothic” compete with a genre cover depicting Jean fleeing from a imposing mansion in the dark.

The second half investigative procedural has solid moments, and the reader becomes invested in the quest to determine the truth of the mysterious psychic and the predictions that shook the foundation of Jean’s family. However Woolrich’s tiresome wordiness remains, and  the third-person narration does little to dull the sting of Jean’s dramatic histrionics and personality shortfalls. 

It’s hard to understand why this novel is so highly regarded among noir fiction fans. While writing a novel that’s half Daphne Du Maurier and half Ed McBain is no small feat, the tense conclusion to the book’s central mysteries is moronic and unsatisfying. Fans of crime fiction, horror fiction, and literary fiction deserve much better from their sacred canon. Life is too short. Take a hard pass on this so-called classic.

Hawker #05 - Houston Attack

I’ve really grown fond of this ‘Hawker’ series by Randy Wayne White (writing as Carl Ramm). While the series began on flat-feet, each installment thereafter has further developed the Hawker character. White has incorporated friends and business associates into the overall collective, defining roles but providing the series room to breathe and grow. Book five, “Houston Attack”, continues that formula and it culminates into one of the best episodes of the 11-book run.

This novel begins mid-story with Hawker approaching the Texas border from Mexico. He’s disguised as a Mexican worker utilizing paid bad guys to smuggle him into the US. There’s an exchange with a young woman, Cristoba de Abella, before Hawker learns the whole operation is human trafficking. Gunfire ensues, and the opening chapter closes out with the reader confused on exactly what is transpiring. Luckily, Chapter Two retroactively brings us back to the event’s origin. A brief recap is made of the prior four books (I like this) and we learn that Hawker has taken 3-4 months off to rest and tend to prior wounds. His ex-wife Andrea comes to visit bearing bad news – her brother has been killed on the Texas-Mexico border.

The plot involves Hawker consulting with the Texas district attorney regarding the man’s murder. He was working undercover and had a rap sheet on the human trafficking players. The D.A. asks for Hawker to finish the job by going undercover (brilliantly as a one-armed migrant worker) and exposing the ring. It’s all centralized at a large Texas ranch, which Hawker infiltrates from within. Soon, he is teaming with a Texas Ranger to not only assist the feds, but to destroy the entire operation at it’s roots. White has Hawker utilizing the same weapons – survival knife, CAR-15, plastic explosive – in each book, and while it’s repetitive, I like the consistency. Hawker successfully uses them for each novel in new and clever ways.

Overall, this one has a little bit of everything - humor, action, intrigue and a little romance. It’s a fantastic stand-alone story but propels the series forward with even more alliances as well as questions. Perhaps Hawker pairs with the Texas Rangers again in future installments? Will he re-marry his ex-wife Andrea? Will Hawker’s employer Hayes return in the next book? White’s little nuances make the reader ask probing questions. It also forces us back again and again. I’m ready to see where “Vegas Vengeance” takes us next.

Lady Gunsmith #01 - The Legend of Roxy Doyle

Legendary western author Robert Randisi (writing as J.R. Roberts) introduces a new series character in “Lady Gunsmith: The Legend of Roxy Doyle”. This fun, sexy novel ties in nicely to Randisi's other successful adult western series, ‘The Gunsmith’. However, you don't need to have read any of ‘The Gunsmith’ books (there are well over 400) to enjoy Lady Gunsmith's origin story. The book was released in March of 2017 by publisher Speaking Volumes.

The novel introduces us to Roxy Doyle as a child on a wagon train journey westward in 1866. Violent events transpire that culminate in a separation of Roxy from her father. Roxy's growing into adulthood and the quest to find her dad serve as the driving action propelling this story forward. Along her journey from town to town, Roxy meets wary sheriffs, bounty hunters, rapists, famous outlaws, criminals, sex partners (plenty of those, by the way), and Clint Adams, the hero of ‘The Gunsmith’ series. Roxy is a likable character who takes charge of her own sexuality and independence. She's constantly overcoming the burden of her own beautiful looks and sex appeal. There's plenty of violent gun-play and intrigue to keep the reader entertained.

Randisi wrote a short-lived series in 2012 called ‘Angel Eyes’ with a sexy female character mining much of the same territory. That series ended too soon, so we can be thankful that many of the same concepts are being explored here. There's nothing really negative to say…it's an easy read with short chapters and lots of dialogue. You'll never feel lost or confused. By now, the author has got this genre well figured out. My only caveat is that this is an adult western, so there are many scenes of graphic sex interspersed with the explosive action, mystery and gun-play. If sex scenes bug you, this book is not for you. For the rest of us, we can all celebrate the launch of this great new series. With many of the adult western series titles (‘Longarm’, ‘Trailsman’, ‘Slocum’) now cancelled, Roxy Doyle is a great new addition to the genre.

Lucky at Cards (aka The Sex Shuffle)

During the heyday of paperback originals of the 1950s and 1960s, a prolific author could compound his income by selling books to multiple publishers under a variety of pseudonyms. It’s become the hobby of many modern fans to serve as detectives and pulp anthropologists to uncover the real authors of the genre novels of the era. Sometimes, a reprint publisher does the work for you. Hard Case Crime acquired the rights to reprint Lawrence Block’s sexy 1964 con-man caper novel, “The Sex Shuffle”, written under Block’s Sheldon Lord moniker. Hard Case Crime gave the book a new title, “Lucky at Cards”, and commissioned some new cover art for the re-release under the author’s own name. 

Our narrator and anti-hero Bill Maynard is a former magician and professional poker cheat known to his fellow con artists as Wizard.  When we meet Maynard, he is recovering from a beating in Chicago when he receives an invitation to a friendly game from his dentist. After practicing his fake shuffles and tricky deals in the mirror for awhile, he’s ready to thicken his wallet with his card manipulation skills. 

The reader is given a fascinating tour through the tricks and nomenclature of a professional card mechanic. At the game, Maynard brings in some good money dealing from the bottom of the deck (“a subway deal”) and bypassing the top card (“dealing seconds”) while the middle-class pigeons are none-the-wiser. The short con gets complicated when the  host’s trophy wife catches him and let’s Maynard know in con-man parlance that he’s been made without alerting the game’s other players. In a private conversation later, we learn that sexy femme fatale Joyce has a colorful past, and she’s grown sick of playing the role of a dutiful bride to her boring lawyer husband. 

After some fairly hot (by 1964 standards) forbidden coupling, Maynard and Joyce hatch a plot to make an end-run around the husband’s less-than-generous will to get his money and run away together. Complications - including a love triangle - arise along the way peppered by more lusty sex scenes. The con runs into problems and the reader is treated to plenty of twists and turns along the way. It’s a helluva good ride. Without spoiling anything, the final climactic scene of the novel was a contrived and corny let-down followed by a more satisfying and redeeming epilogue. 

Even early in his career, Lawrence Block had a knack for first-person narrative readability. The dialogue is snappy, and the conversational style makes this an easy and fun story. The action is all cerebral - more like The Sting or The Cincinnati Kid - than the violent crime novels of the era. The sex scenes are erotic without being graphic - a delicate needle to thread. 

There are probably better paperbacks to serve as an introduction to Block’s vast body of work, but The Sex Shuffle/Lucky at Cards is a worthwhile read for hardcore Lawrence Block fans. It’s a quick and easy read with lots of cool moments and vivid characters. 

The Rat Bastards #02 - Death Squad

Len Levinson's (as John Mackie) 'The Rat Bastards' series began with “Hit the Beach!”(1983), an outstanding wartime action/adventure novel, careening from the harrowing to the exhilarating and back again like a roller coaster. It wasn’t very likely that the follow-up novel could be just as good, and it isn’t. 

It's better! 

Although “Hit the Beach!” was tense and exciting, it was also episodic, lacking a real plot. It's simply about a combat platoon on Guadalcanal fighting back waves of Japanese soldiers. But the sequel, “Death Squad” (1983), is a story with a clear beginning, middle and end, and that structure gives it more power. It’s pulp fiction, but it’s extremely well-written, and the characterizations, dialogue and pacing are all superb. 

In this novel, the platoon has survived the meat-grinder of “Hit the Beach!” and heads out on a highly dangerous reconnaissance mission over to the far side of the island, where they’ll be isolated deep behind enemy lines. Their task is to find out where Japanese supplies and reinforcements have been landing. 

The mission gets off to a good start but the guys are in for a very rough time and before it’s over there will be snakes, snipers, capture, crocodiles, torture, torpedoes and always (always!) relentless action, bloodshed and suspense. Every time you think you know what’s about to happen, you’re hit with a surprise and just when the adventure seems to be over, there’s a spectacular extended climax that tops everything. 

Good luck finding a pulp action/adventure novel better than “Death Squad”. War is truly hell for the Rat Bastards, but it’s a 200-page thrill ride for the reader.

The Enforcer #02 - Calling Doctor Kill!

There's no secret that I loathed the very existence of Andrew (Andrea) Sugar's 'The Enforcer' debut. It's preposterous plotting and dull narrative left a lot to be desired. The pretentious “enforcer” bit never came to fruition, nor did the Mafia or kill contracts per the appetizing front cover. In my review of that series debut, I requested “less spiders in a bag, less laser beams and much better writing” as my definitive closing statement for the jury. Thankfully, my willpower to read the second series entry, “Calling Doctor Kill!”, didn't evaporate as this novel is a pleasant surprise and a fair representation of what I had expected from the series name.

In this novel, protagonist Alex Jason is requested by the institute to infiltrate a complex hospital operated by the mysterious Syndicate. Jason is provided a new body (his brain can transfer bodies every 90 days) and an identity as a new doctor hired by the hospital. The mission is to free Dr. Rosegold, the brilliant mind behind the whole “transferring to a new body” routine. Rosegold is a brilliant entrepreneur with a tremendous skill-set, thus an easy target for the Syndicate. They have him captured in a coma-like state inside the heavily fortified hospital. It's an attempt to pry information on the body transfer process for an overall goal of creating seemingly immortal mobsters. Aim high, shoot high.

In the first novel, Sugar placed Jason in over his head as a combat-heavy jungle soldier without an ounce of military experience. That plodding, lifeless debacle of having him blow up an oil reserve in a banana country was absurd beyond words. In this book, Jason infiltrating a hospital using his brain instead of brawn makes logical sense. Instead of explosives and laser beams, this book is grounded with a solid dose of espionage, a thrilling pace and an effective setting that creates a sense of isolation and forthcoming doom. It's a chilling atmosphere, making Jason's undercover mission compelling, riveting and all-together just a damn fine read. Sugar never misses a beat. “Calling Doctor Kill!” finally showcases this writer's talent as well as a tremendous amount of potential for the series. 

Secret Agent X #1 - The Torture Test

If you ever find yourself burning out on the sullen anti-heroes of 1970's-80's paperbacks, and getting tired of the coldness, the sex and the cynicism in them, the vintage pulps are the perfect alternative. But while fabulous characters are all over the place in the pulps, finding great stories isn’t necessarily easy. 'Doc Savage', 'G-8' and 'The Spider' are classic heroes, but these stories were written for a young crowd - basically 12 to 16-years old. You get lots of action, weird villains and a brisk pace, but sometimes things collapse into such silliness that you become detached from the story rather than being carried along by it. At the other end of the spectrum are heroes like 'The Shadow' and 'The Phantom Detective'. Here the stories are a bit more adult and less fanciful, but sometimes the prose is dry, plodding and short on thrills. I love all of those characters. But I’ve found that the stories I tend to enjoy the most come from the middle of the spectrum, where you’ll find lesser-known heroes like 'Jim Hatfield', 'Operator 5' and 'Secret Agent X'.

Agent X makes his debut in “The Torture Trust” (1934), an imaginative and energetic novel full of action and atmosphere, menace and mayhem. It’s got naturalistic dialogue and there are no goofy sidekicks following the hero around. Paul Chadwick (as Brant House) handles this enigmatic character with skill, sharing Agent X’s thoughts and feelings just enough to make him human, without ever losing the aura of mystery that makes him fascinating. We’re told almost nothing about who he is (not even his name), where he came from or how he got into his dangerous profession.

In this adventure, Agent X battles an unknown trio of hooded extortionists who are terrorizing the city, torturing their victims with acid when they don’t pay up. At first, he has almost no clues to work with, but he methodically zeroes in on the villains’ identities and location, step-by-step, right through to an effective climactic confrontation. Chadwick must have realized he had something special here, because he would later recycle the story for another 'Secret Agent X' novel, “The Hooded Heroes”, in which the only real improvement was to make the villains even meaner, pouring molten lead down their victims’ throats! 

Like many of the great pulp heroes, Agent X frequently goes undercover, wearing disguises and elaborate make-ups as he conducts his operations. He really takes that work seriously in “The Torture Trust”, studying film footage and voice recordings of his subjects before meticulously applying many thin layers of makeup to complete his impersonation. This is quite a contrast to 'The Shadow', 'G-8', 'The Phantom Detective' (and Agent X himself in his later novels), whose make-ups are slapped together in a few moments, often in the dark or in moving vehicles. That attention to detail pays off, both for Agent X and the author and it helps set this thriller apart. Like all the best hero pulp stories, it’s grounded in the real world… but anything can happen on the next page.

The Vigilante #01 - New York: An Eye for an Eye

This novel, “New York: An Eye for an Eye”, is the debut of a six-volume series entitled ‘Vigilante’. The house name is V.J. Santiago, but it’s written by Robert Lory of ‘John Eagle Expeditor’ fame. It’s a Pinnacle book, and was released in 1975 with easily one of the worst covers of the genre. It’s made painfully abysmal by the promise that it’s “More ruthless than The Executioner and more vengeful than Death Wish!”. Luckily, the book’s pretentious (boisterous) claims are overshadowed by quality writing and an engaging story. Surprisingly, this one is a solid representation of what makes this “revenge” sub-genre so compelling.

The book’s prologue quickly introduces us to a very violent East Seventy-Seventh Street in New York. A young woman named Janet is raped and killed across the street from our protagonist Joe Madden. It’s an eerie precursor of the horror awaiting Madden and his young wife Sara. Lory takes some time introducing us to Madden and building the obligatory relationship not only with his wife Sara, but the reader as well. We go through a hectic day in the life of Madden – business meetings, projects, deadlines in the hustle and bustle engineering field. The two leave a social engagement late and find themselves robbed and viciously assaulted on a vacant subway car. The result leaves Madden hospitalized and his young wife dead.

Lory crafts a progressive, well-developed novel around grief. It’s a portrait study of Madden’s mental state, painting the metamorphosis from shock to grief, heartbreak to hopelessness and ultimately anguish to vengeance. The author blankets each chapter in bleak realism, enveloping the reader in the downward spiral of this man. While “vigilante” is certainly a descriptive term, most of the book is the poignant sea of sorrow. Within the first week of the attack, Madden starts to create a campaign for vengeance. The author builds in a little know-how by explaining that Madden has killed before. He served in the Korean War and provides a little background on a memorable battle. Beyond this, the character knows nothing about crusading or righting the wrongs of lower-class America. He enters battle with a makeshift kitchen knife housed with tape inside of a cardboard sheath. His targets are of the low-life variety – muggers, purse-snatchers, etc. - but he averages a kill a night. Later, he pushes the envelope and keeps an assailant’s .38 revolver and uses it in a climactic killing of a trio of rapists.

The series could be misconstrued as a clone of the vigilante spawn of 1968. At least for this novel, that certainly isn’t the case. While probably not as relevant as an Elmore Leonard or Brian Garfield, the book is every bit as engaging as Messmann’s ‘Revenger’. While this “revenge the death” study in human behavior is captivating, the hardcore fans could shrug off it’s overutilized plot. I’d approach the book as more of a portrait of loss instead of the gritty, men’s action adventure that it professes to be.

Snowbound

Classic crime publisher Stark House Press has reprinted Bill Pronzini's 1974 stand-alone heist novel, “Snowbound”. This edition is also packaged with another short Pronzini novel called “Games”. “Snowbound” is a well-written short novel about a heist crew (think of Richard Stark's ‘Parker’) who decides to lay low at a safehouse in a small, wintery, mountain town where everybody seems to know each other. In addition to the hold-up crew, the town is also occupied by a boozy recluse with a mysterious past, a mayor with a sexual secret life, a horny housewife seeking companionship, a couple expecting their first child and a handful of secondary side-characters. The cast is vividly-realized as Pronzini takes the time to give them each actual subplots and character development - something often lacking in classic heist novels. A snowstorm and an avalanche seclude the snowbound town and creates the novel's central tension that drives the story forward. The plotting reminded me of Stephen King in the way a cast of independent characters converge in the novel's protracted, bloody climax. The easy-read story moves at a good clip, and the ending was very satisfying. Fans of heist novels and "confined space" suspense stories will find a lot to enjoy in “Snowbound”. Highly recommended.

The Trailsman #256 - High Country Horror

This ‘Trailsman’ adventure, “High Country Horror” (James Reasoner as Jon Sharpe), starts out being a wilderness survival story, as Skye Fargo meets a wagon train of settlers in serious trouble. They’ve been deceived by their guide, who steered them into the mountains far from the Oregon Trail before robbing and abandoning them just as the first blizzard of winter arrives. These opening chapters are superb, and they were so promising that I was a little disappointed that the book soon changes course. 

Instead of a Donner Party drama of hunger and slow death, we find Fargo leading the settlers to the shelter of an abandoned fort, where the crooked guide re-appears with his well-armed outlaw gang and terrorizes them all over again, though Fargo does his best to help. Amid this action are interludes with a death-dealing Sasquatch-like figure known as the Lost River Lurker, who appears from time to time to attack people before mysteriously disappearing. 

These narrative pieces don’t necessarily fit together perfectly, but the author’s gifts for atmosphere and suspense make it all work. The story concludes with a strong confrontation scene and then, as if to place a cherry atop the sundae, there’s a surprise twist. But that twist didn’t make much sense to me. I won’t give anything away, but the revelation we get is a bit hard to believe. Sometimes a sundae doesn’t need a cherry, and I think the novel would have been better had it ended half a page sooner. But overall, this was a gripping novel and the Lurker really helps it stand apart from the roughly 400 other ‘Trailsman’ stories.

Winner Take All

Mark Steele is an out-of-work Man of Adventure bumming around San Francisco when he hears a knock at the door. The man on the other side of the door is a stranger - but one who looks exactly like Steele. This is the opening scene of James McKimmey’s 1959 Dell paperback, Winner Take All. This obscure crime novel has been given a second life through a 2018 re-release from Stark House Press. This new re-issue is packaged with a 1957 “innocent man accused” novel called Perfect Victim, also by McKimmey, as well as a 2004 interview with the author by “Noir Originals” scribe and author Allan Guthrie. 

It turns out that Steele’s doppelgänger is a heretofore unknown twin brother who was separated at birth. And while Steele lived a hardscrabble life fighting in wars and taking care of himself, Byrd planted his flag into the privileged trappings of the idle rich - trust funds, women, booze, and gambling. As hardboiled genre fiction fans might expect, the reason that Byrd seeks out Steele was not for a tearful brotherly reunion. He comes with an offer: Can Steele pose as Byrd to negotiate a settlement on a large gambling debt owed to the mob? Seeing an opportunity to turn a buck and find some action, the braver brother accepts, and the story is off and running.

It would have been easy for McKimmey to structure the novel differently - by having the non-violent brother drafted to take the place of his soldier-of-fortune twin and find his own manhood in the process. Instead, the author puts us into the mind of the brother who is more comfortable in a world of violence and unpredictability, and that adds to the fun of this one. While the set-up of this short novel is rather contrived, the execution is superb - mostly due to the author’s skill with first-person crime novel narration. The book has all the trappings of the hardboiled crime stories of the paperback original era - thuggish mobsters, a sexy femme fatale (or two) and twisty double-cross plot devices. It’s a blast of a story - violent, sexy, and compelling - and well worth your time. 

The Executioner #07 - Nightmare in New York

The seventh installment of The Executioner series is 1971’s Nightmare in New York. Finally, the riveting action arrives both domestically and sequentially in this triumphant return to form for author Don Pendleton. After the series’ debut quartet, the thrill-ride slowed as it was exported to Europe. The fifth and sixth volumes were off-target for Bolan and his experienced skill-set. Humor, perverse sexcapades and a bizarre treatment of the character left plenty to be desired. With Nightmare in New York, the series experiences a revival with one of the best entries in Pendleton’s initial 38-title run.

A dark, ominous tone is set in the book’s prologue. Pendleton recaps the first six books and advises that Phase One and Phase Two of the Mafia War, which he calls “The War of Attrition”, has ended. He promises readers that Phase Three is here and it’s “The War of Destruction”. Pendleton prophesizes: 

“He will hit them now in their omniscience, in their omnipotence; their omnipresence, he reasons, will then fold under its own weight. Bolan is in the saddle, his mount is destiny, his target is the Kingdom of Evil – wherever its ugly head may rise”. 
The grim nature at the beginning spills into the book’s opening scenes of Bolan arriving stateside through Kennedy International airport. Flanking the emerging Bolan is Sam “The Bomber” Chianti and his Manhattan-based Gambella Family. In a strange, yet superbly written encounter, Bolan exits a helicopter into a hail of gunfire. He escapes - with hot lead in the shoulder and a small tear in his hip - thanks to a trio of young beauties.

The book starts to settle in as Bolan is nursed back to health by the three young women. The author takes the opportunity to establish a relationship and continue to build on Bolan’s need for love despite hopeless abandonment of normalcy. The Gambella Family is now the primary target for Bolan, particularly Chianti’s lifelines. In Bolan’s acute awareness of Mafia operations, he leisurely kills three hired hands in a hotel, stuffing them in a trunk before shaking up the mob shops and racketeering joints. 

In hilarious scenes, we see Bolan talk the talk and walk the walk right into the lairs of lieutenants and Mob don Freddie Gambella (snatching a cool 25K on the way out). Frequently, he kills and leaves his trademark marksman badges. This is the classic Bolan we saw in Phase One and Phase Two, that slick and violent destroyer; the swift and cold hand delivering point blank justice.

After learning of the brutal rape, torture and death of one of the trio of young girls, Bolan is the grimmest we’ve seen him since the original War Against the Mafia. He hits the mob hard in a meat packing plant, at one-point firing round after round into the head of a deceased enforcer. Her age, beauty and prior friendship sets Bolan on a vengeance trail. He calls a local television station and coolly warns: 

“I am going to destroy the Gambella Family. One by one, crew by crew, business by business – I am going to wipe them. I will not be bought off or scared off by threats against defenseless and innocent persons, and if one more sweet kid is turned to turkey because of me, then these turkeymakers are going to discover what a real nightmare is all about. There is no escape for these people. I know each of them, I know where they go and what they do, and I am going to hunt them down, all of them, and I am going to execute them.”

This book not only flashes the same gritty badge as the early part of the series, it also recalls key characters. Bolan has a verbal exchange with undercover enforcer Leo Turrin, an older ally from the opening quartet. He asks Turrin about Valentina and the status on his younger brother (whom we haven’t heard much about until now). I love how Bolan explains to Turrin in the exchange, “I’m no detective. I’m an infantryman”. No truer words have been spoken about this turbulent character. The book’s finale captures Bolan’s barbarous assault on Stoney Lodge, the Gambella headquarters. The heated exchange leaves Bolan with only one choice – go fight the next battle in a war he can’t win. 

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Spur #15 - Hang Spur McCoy!

There were over 40 volumes of the western series ‘Spur’. The Leisure house name was Dirk Fletcher but these were actually written by journeyman writer Chet Cunningham (‘Jim Steel’, ‘Outlaws’, ‘Pony Soldiers’). “Hang Spur McCoy!” is book number 15 and was suggested as a good starter for new readers. There’s a brief introduction in the opening chapter, but later expanded as a sufficient backstory in Chapter 12. Spur McCoy grew up in New York as the son of a wealthy merchant and importer. After graduating from Harvard, Spur took a commission in the infantry during the Civil War. As a captain, Spur was appointed as one of the first US Secret Service Agents. For validity, the author states Spur was chosen out of ten finalists for his horse riding and service pistol marksmanship. After exceptional service in Washington, he was transferred to St. Louis to manage all of the action west of the Mississippi. Thus, a series was born with a legitimate character, purpose and the open-ended ability to place him in any sort of drama and adventure in the perilous west. 

Cunningham kickstarts “Hang Spur McCoy!” with a bang. Our government agent is firing at an outhouse with a Spencer repeater. During the exchange Spur is wounded badly with a leg shot and awakens in the midst of a noose-ready posse. The sheriff and three make-shift lawmen have sentenced Spur to a lynching after accusing him of rape and murder. Once he successfully defends his position, the sheriff comes to Spur’s aid only to be outnumbered by the hostile trio. With a bound sheriff, the three struggles tying a noose. The sheriff assists, but cleverly ties a Murphy’s Knot to allow a faux presentation of Spur hanging. The deed is done and the three ride off with the sheriff staying behind for the pulse check. Other than a horrendous rope-burn and a bum leg, Spur is ready to complete his mission.

Some authors may be complacent with this being a simplistic and over utilized plot. Stretching out a revenge yarn for 200-pages is quite manageable and most authors worth their salt can milk this. While the author has Spur tracking those responsible for his hanging, the bulk of the story is the assignment – solving a counterfeiting racket in Twin Falls, Idaho. It’s slightly convenient that one of the hangmen is directly associated with the counterfeiting, but it’s forgivable. The action has Spur in detective mode sourcing the operation from start to finish. Along the way is a plethora of lovely ladies for the inevitable mattress romps. Fans of the series understand (need?) the obligatory 10% sex inclusion and it certainly spaces out the gumshoe portions in pleasant fashion. The finale has Spur unarmed in the forest facing adversity…and two armed gunmen. While Cunningham heats the barrels, “Hang Spur McCoy!” pauses for a tender moment as Spur shows compassion for one of the accused. This unique angle is one of the many little nuances that makes Cunningham’s work so enjoyable.

Wilderness #01 - King of the Mountain

“King of the Mountain” is the excellent debut of David Robbins' ‘Wilderness’ series. It was released by Leisure in 1990 under Robbins’ pseudonym David Thompson. The series ran 66 volumes over the course of 20 years, and also extended to “giant” versions as well as omnibus collections. Set in New York City (population 100,000) in 1882, Nate King is a low-level accountant with a crappy boss and a job with limited upward mobility. His girlfriend is a materialistic pain in the neck who will only marry him if he can establish that he has the capacity to support the spoiled girl. A solution to this problem presents itself in the form of a letter from Nate’s long-lost Uncle Zeke, the family pariah who ventured west to pursue frontier adventures. Zeke wants Nate to meet him in St. Louis and promises a share of the “treasure” Zeke has amassed. Driven by his own wanderlust and greed, Nate sets off on a horseback adventure to meet Uncle Zeke in St. Louis. From there the adventure continues westward. This is basically an origin and travel story where a city dandy learns the ways of a wilderness mountain man on a cross-country horseback adventure. The mentor/student scenes are both enlightening and captivating. The road adventures include run-ins with dangerous wildlife, kindly Native Americans, scalp-hunting savages and conniving road thieves. There are plenty of scenes of explosive, bloody violence and tension-filled stand-offs. The author also injects several interesting historical tidbits of pre-cowboy frontier life in the unsettled west - you’ll be thrilled while learning a thing or two. This debut was a straight-up, nearly perfect genre novel and it will make you want to continue the story into book two and beyond.

Wasteworld #01 - Aftermath

U.K. author *Laurence James has become a regular staple here at Paperback Warrior. I’ve covered a host of his novels ranging from the ‘Apache’ western series to his popular post-apocalyptic runs on ‘Deathlands’ and ‘Survival 2000’. The “Piccadilly Cowboy” had a knack for science-fiction and the post-nuke formula, evident as early as 1983 with the four-book series ‘Wasteworld’. It’s debut, “Aftermath”, was released in the U.K. by the Granada publishing house under one of James’ many house names, James Barton. Collaborating with Granada is popular British artist Richard Clifton-Dey (Blue Oyster Cult, Ray Bradbury). The talented painter showcases a barren, dismal “wasteworld”, accenting hero Matthew Chance’s post-apocalyptic struggle perfectly. With rather large print at 128 pages, this is two-hours…spent.

Like any post-nuke worth its salt, “Aftermath” curtain jerks with a paragraph explaining Afghanistan was invaded, the US took the banana countries and a war was fought over Cuba. The breaking point was an invasion into Libya as the parts of the world experienced oil shortages. The bombs went up and down…and now most of the world is riddled with radiation, disease and devastation. Marine Air Corps pilot Matthew Chance was fighting in a campaign over the Crozet Islands in the Indian Ocean when the nukes exchanged. Apparently, the bombs really had no effect on Matthew or the surrounding area. Surviving the ordeal, he somehow ends up in Mexico (told to the reader through a verbal exchange with a mutant) where very little devastation has occurred. Other than the air bases, Mexico has very little radiation or physical stress. As charming as it sounds, Matthew has to get to Texas to find his ex-wife and their two children.

The book’s opening chapters has Matthew washing up on a shore in New Orleans. He’s somehow sunk a cigarette boat in the gulf with kilos of cocaine and gallons of fuel. His bartering goods are ultimately destroyed and the only possession he can carry to shore is a fighting knife. This quickly comes in handy as Matthew fights off a gang of deadly, feral cats to prove his validity. Soon, he’s exploring the city only to find New Orleans is now ran by a voodoo priest named Amos. The African Americans have actually enslaved the white survivors and now serve as labor and enforcement for “king” Amos. After seeing Caucasians being buried alive, pale-faced Matthew quickly runs for safety. He runs into a swarm of 7-foot hunchback ogres and mutant, rabid dogs. His only safety is in the sewers where he befriends a female mutant named Alice Adams. In a wacky scene we learn Alice can only communicate by ESP and she’s a permanent resident – her mutant deformity is that she is bloated to a supersized blob of lethargic fat. With that size comes great stress – she can’t fit through the sewer exits.

Alice offers to aid Matthew in his journey to Texas (how?) if he will simply go kill Amos. Matthew makes a failed attempt only to be awarded with the obligatory jail time. Amos forces Matthew to shoot a few white prisoners while requiring him to fly a Cobra helicopter into the bayou to kill an army of Cajun opposition. It’s utterly ridiculous, made even more convoluted by an insane decision on the part of Matthew to blow the helicopter up. Why not just fly the damn thing to Texas and save the family? Instead, Matthew wastes an entire helicopter fighting rabid dogs and mutants near the sewer entrance. In the book’s finale, Matthew, now teaming with the very mutants he was fighting, attempts to exchange Amos for some Cajun prisoners.

I loved the brief backstory on Matthew and the mono myth creation. This really set the book up well, and despite our hero fighting cats, he’s introduced as a likable guy. The chase scenes within the brothel and wine cellar were very effective and bordered on horror’s penchant for dark spaces and hypertension. I found James really ahead of the game with an early style of writing in describing residency. A lot of the zombie fiction of the 00s would depict characters entering homes and finding dead bodies. I always found that part of zombie fiction entertaining…although oddly anonymous and thought provoking. Here, Matthew enters a number of homes and finds the same scenario. Often, he simply drags the bodies into a room or piles them up downstairs. I thought this was a unique aspect considering the time of release – 1983. By the middle of the book James’ throws the baby out with the bath water. Alice Adams is absolutely bizarre and the vile villain is dull and lifeless. Where the book’s beginning made Matthew interesting and somewhat respectable…the closing chapters are studies in character erosion. The book’s cover painting and slim design makes it collectible…but I would never read this again.

* Justin Marriott of Paperback Fanatic, Sleazy Reader, Men of Violence, etc. suggests that this book may have been written by a different Piccadilly Cowboy in Angus Wells. He cites two different sources for pegging Wells as the author. First was an interview he did with crime writer James Harvey, who had worked with Wells and James on prior work. Second is the fact that Laurence James excludes 'Wasteworld' from his bibliography submitted to Paperback Parade. 

The Enforcer #01 - The Enforcer

Lancer released The Enforcer in 1973. It was the debut of a series that lasted four volumes with the publishing group before Manor purchased the line and released two more (including reprinting some with better art). The series was written and created by Andrew Sugar, who would later contribute for Argosy as well as books in The Israeli Commandos line. After one stand-alone title, Yank, the author seemed to retire from writing around 1979.  No other published works are known. Oddly, there’s some mystery behind this particular creator. Some have speculated that Andrew Sugar was actually a woman named Andrea Sugar. However, according to the Glorious Trash blog, a fan and former Sugar colleague states this is false. Blogger and author Paul Bishop discovered evidence from a court case (her lawsuit over naming rights of Dirty Harry film franchise) that he lived his later years as a woman – Andrea Sugar.

While The Enforcer appears to be another entry in the popular “vigilante revenge” sub-genre, don’t let the cover fool you. There are very little comparisons contrary to the book’s obvious knock-off of The Executioner styled covers. The cover suggests this is a “great new series”. It’s not. It also shows us a Mack Bolan clone holding a handgun. That’s not in the book. The tagline of, “The contract’s out from the Mafia masters – get the Enforcer before he gets us!” has absolutely nothing to do with this book. There’s no Mafia, no contract and the Enforcer isn’t out to get anyone. The book’s jacket is a scam just begging for you to spend your hard earned .95 cents on this guy instead of Bolan. I hope you didn’t.

Alex Jason is a successful author and lives in a nice apartment complex in New York. In the book’s opening chapters, we learn that Jason is in the final stages of stomach cancer and weights roughly 100-pounds. He’s not exactly in tip-top fighting shape regardless of his martial arts background. Aside from controlling his pain using inner self-control called Ki, he spends his dying days depleting his funds and having heavily detailed sex with his girlfriend (who at one-point wishes Jason had two penises to please her with). Jason entertains an offer from a mysterious hologram – he can live an additional two years if he can contribute his services to the John Anryn Institute. How is this possible for a terminal Cancer patient? Simple. A guy named Flack has invented successful body growing (and cloning). Frankenstein influences in a men’s action adventure tale?

In what of the most outrageous storylines of any genre series, Flack can simply place Jason’s mind in perfect bodies that he has grown from cells. While these bodies are healthy, strong and enamored with ginormous penises, they do have a flaw. After about 90 days the body will essentially melt and Jason will need to be replaced in a new body. Each time this happens…the brain waves become a little duller. It’s not a flawless process but Jason understands the risks. Soon Flack and his institute has Jason in laser beam training, an important part of his first mission – destroying oil wells in Cuba to spur a dictatorship’s downfall. After meeting, and screwing, a trainer named Brunie (also a cloned body), Jason is off to Cuba (?) to shoot the oil well with a laser beam. Unfortunately, his raft sinks along with most of his supplies. Considering Jason has no prior military experience and writes books for a living, he is soon captured by the dictator and forced into a three-month prison sentence of torture and penis flicking (by another man).

There are so many things wrong with this book that I can’t possibly outline them all here. 

First, why would the institute want Jason to do these things? It’s 1973, why not some Vietnam specialist or other military trained professional? Second, the author spends a bulk of the middle of this book just doing day to day stuff at the prison – very mild torture, hotbox occupancy, penis flicking – with very little payoff. How does our paperback warrior escape? Brunie and his laser beam trainer, Tutley, show up to spring him from the camp. 

The book continues for another 40 pages as the team learns there is an Island of Dr. Moreau thing happening in some secret laboratory on the island. Without proper supplies and arms (the laser beams have a max capacity of 15 shots), they literally walk into the laboratory and threaten the commander with a spider in a bag. No shit. I’m not making this up. Utterly ridiculous…and fascinating. 

The book’s finale, which can’t come soon enough, circles back to the novel’s opening pages of Jason melting away on a Caribbean beach. It’s hard to imagine where the series’ will go from here – but I’m hoping less spiders in a bag, less laser beams and much, much better writing.

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