Dirty Harry #01 - Duel for Cannons

I’d put off reading this for nearly a year because I had a premonition that it wouldn’t be very good. I was right.

A vacationing Texas lawman gets gunned down in California, and “Dirty Harry” Callahan of the San Francisco Police Department thinks it was an assassination. It was indeed, and as Harry investigates further, a big conspiracy emerges involving an evil Texas businessman who’s got the whole San Antonio police department on his payroll, including its crooked chief. Those who don’t go along get killed by the businessman’s favorite assassin. Harry goes after them all, and you can guess how things end up.

The story has potential, and Dirty Harry is a terrific character, but somehow this book never got in gear for me. I didn’t care for the style of author Ric Meyers (using the name Dane Hartman), who writes as if he’s reading a screenplay and adapting it shot-by-shot into a novel. The result is that action sequences go on way too long, with lengthy descriptions of the physical landscape and details of each participant’s every motion. It’s always way more information than you need. For example, the book opens with the assassin killing that vacationing lawman. That simple sequence takes fourteen pages to describe.

Most of the story takes place in San Antonio, where Harry tries to rescue its last remaining honest lawman, who’s been kidnapped by the villains. This leads to a series of drawn-out gun battles in which nothing gets resolved. It also leads to Harry sleeping with the lawman’s worried wife (huh?), which I guess gives him something to do between gunfights. 

Weirdly, Harry then teams up with the assassin to invade the businessman’s mansion and kill him. After that battle, there’s a brief layover until the book’s final shoot-out, in which Harry and the assassin try to kill each other. This occurs at the Alamo, apparently after the tourists have gone home but before anyone locks up for the night, as Harry walks right through the front door for his gunfight appointment.

What follows is a lot of shooting until the ammo runs low, and then we come to the one scene in the book that I loved. It’s a reversal of the famous scene in the original movie, in which Harry levels his Magnum at a cringing low-life and gives that little speech ending with “You have to ask yourself a question: do I feel lucky?” This time it’s Harry who’s looking up at that lethal barrel, and it’s a terrific scene. Unfortunately we have to slog through 98.5% of an uninspired book to get there, but at least there’s that.

The Evil Days

During the 1950s, Bruno Fischer was one of the mainstays of crime fiction. His bestselling novel, “House of Flesh,” sold 1.8 million copies following its 1950 release. After 21 years of writing, followed by a 14-year hiatus from new releases, Fischer’s “The Evil Days” (1974) was his last published book at the age of 62. Stark House Mystery Classics has repackaged the novel for modern audiences as a double along with Fischer’s “The Bleeding Scissors” (1948).

“The Evil Days” was marketed as a “novel of crime and suspense in the suburbs.” The plot setup is one we’ve seen before: Caleb Dawson’s wife finds a bag of jewels that she wants to keep to supplement the family’s meager income. Caleb thinks it’s a bad idea, but acquiesces to his money-hungry wife’s ill-conceived scheme. As you may have guessed, there are unsavory people who aren’t excited to just walk away from a lost fortune and want the jewels recovered. Meanwhile, there’s a violent murder in the same suburb that serves as the basis for a satisfying mystery. Could the two events be connected?

Fischer spent much of the 1960s working as an editor for two large publishing houses, and he puts his industry knowledge to good use in “The Evil Days.” Caleb works for a respected publisher that has been acquired by a large corporation. The inside baseball treatment of the publishing world is an interesting aspect to this novel for avid readers with an interest in the way a book is brought to market, and the way that editors speak about writers when they’re not around. The snappy dialogue feels authentic because Fischer has been there.

Another interesting way to read this novel is with the knowledge that Fischer was an honest-to-goodness Socialist. His early career was spent editing leftist publications, and he ran for the U.S. Senate in 1938 as the Socialist Party Candidate (spoiler: he lost). The ideas that workers are exploited by their bosses and that lust for money invites unhappiness are recurring ideas in his books and stories. “The Evil Days” has elements of both themes.

But even if you don’t read this paperback as a Marxist allegory, it remains a helluva mystery filled with moral dilemmas, poetic intrigue, sex, and murder. His politics aside, Fischer was an outstanding writer who honed his craft writing short-stories for the pulps, and that fat-free approach to storytelling carried forward for decades to this fine tale. It’s not filled with action or violence, but the Hitchcock-style mystery is plenty tense. Fischer was a pro at this game, and this final novel was a fitting close to a remarkable body of work. Highly recommended.

Bonus Tip:

The best work by Bruno Fischer that I’ve ever read was a 40-page novella called “We Are All Dead.” It’s about a fouled-up getaway after a heist. It’s only $1.49 on your Kindle, and it’s a damn masterpiece. Thank me later.

Swampmaster #03 - Unholy Alliance

If Paperback Warrior celebrated a Hall of Shame, then two of the three books in this 'Swampmaster' series would absolutely be inducted. David Alexander's hog piss 'Phoenix' would be in as well as the 'Roadblaster' atrocity committed by Paul Hofrichter (also known here as He Who Creates the Horror). I despised Jake Spencer's (real name Jerome Preisler) series debut (“Swampmaster”, Diamond 1992) and its 232-pages of utter nonsense. The author redeemed himself with a quality sequel called “Hell on Earth” the same year, moving the action from St. Augustine, Florida to the Gulf Coast. The book, while wildly ridiculous and equally nonsensical, had a good story to propel its over-the-top violence and mayhem. The third and final book in the series is “Unholy Alliance”, once again released by Diamond in 1992. 

Jerome Preisler, my God man. Why? Why did you write this?

In theory, a book showcasing a drug deal between post-apocalypse criminal factions at an abandoned Disneyworld is tantalizing. It's a fascinating concept – bad guys running around the most famous amusement park in the world while a war party featuring acrobatic twins and a Seminole (they are the good guys mind you) are attempting to stop them. Just for shits, throw in 8-pages of Black Bear vs Doomsday Cowboy, a gladiator game of motorcyclists mowing down human heads and a drooling wheelchair bound madman residing in Cinderella's Castle. 

I mean...Jerome, how do you screw this up? 

It's essentially like Peter North just showing up on the set and having no idea where to put it. This should be an easy one. Instead, it's pages and pages and pages of junk. Gun porn galore, mindless conversation about Cuban cartels, pointless backstories on meaningless characters that become decapitated in throwaway “cut” scenes. This is absolute garbage. It's worse than garbage. If garbage had a waste can that they put their own garbage in, then this book would be the filth-ridden wallpaper adorning its inner aluminum shell. 

Thankfully, this series was trash-canned, thrown onto the back walls of garage sales worldwide, finding solace in its obscurity and staying away from unknowing readers who might seek out the answer to “Who is Swampmaster”. He's John Firecloud and he'll rain on your Macy's parade every single Thanksgiving. He's the guy who hid the chocolate bunny on Easter and told you asparagus tastes great. He only left you a quarter for pulling that bloody stump of a tooth out of your pink gums and John Firecloud is the guy who crapped in the work toilet and left it there to dissolve knowing you'd see it and never unsee it. 

Jerome Preisler did all of that too. 

'Swampmaster' is the warning label for bad fiction: Contents inside may put you at risk of blindness, erectile dysfunction and lethargic bouts of coma-like fatigue. Do not operate heavy machinery if you are reading 'Swampmaster' and contact your physician or nearest urgent care if you reach page 10. In other words, don't read this, don't look at it, don't buy it...pretend it doesn't exist.

Adam Steele #04 - Valley of Blood

It was the cover art that got me intrigued enough to read this 'Adam Steele' western. For once, the cover is perfectly faithful to a scene in the story--- in fact, it’s the most eye-opening scene in the book--- so let’s take a look.

Our hero has come to a frontier town controlled by a greedy rancher and his henchmen. Four masked hardcases corner Steele one night. We know that these are the same creeps who’d gang-raped the book’s helpless young leading lady a couple of chapters back. Things go badly for Steele at first (he takes a punch to the stomach and a kick in the crotch), until he suddenly produces a three-inch “tie pin.” With it, he swiftly skewers the testicles of one bad guy, whose shrieks of agony distract the others long enough for Steele to get the drop on them. A fast gunfight leaves that trio dead, and Steele blows the head off Punctured Testicle Guy for good measure. Next, he strips all four of the thugs nude and hangs their bodies on a barbed-wire fence before castrating them.

I’ll leave it to others to speculate where the author’s fascination with groin trauma comes from, but the over-the-top violence isn’t a surprise. The book is credited to George G. Gilman, but the author is Terry Harknett, the British pulpster who wrote these 'Adam Steele' books along with the even more brutal 'Edge' westerns. Steele has a bit more humanity than Edge, but that’s not saying much considering what a stone-cold sociopath Edge is, and he shares Edge’s habit of cracking a bad pun at the end of most chapters.

Harknett’s characters exist in a stark spaghetti western landscape. That gives his stories a somewhat different flavor than what you get with conventional westerns by American authors. Tough-guy heroes are nothing new, but in these books the hero has a hard, cold core like an under-baked potato. The same traditional themes of good versus evil are here, but there’s an emotional detachment which makes it hard to really care about anyone, or about what happens to them. That’s just as well, because the author is fond of killing off virtually every named character in a given novel, and it happens here too.

Even the unfortunate leading lady gets killed off, casually and pointlessly. A beautiful young widow who’d helped him earlier in the book, Steele pauses to reflect on why he nevertheless feels nothing for her. “Sorry, ma’am,” he muses, “But I’m looking for the best and you were banged around too much.” Maybe it’s just as well that Steele doesn’t pause for reflection very often.

It all winds up in an action climax, but I found the ending pretty unsatisfying, and apart from the spasms of colorful violence this is a fairly dreary, downbeat book. The pacing is reasonably brisk and I was grateful for the brevity of its 148 pages, but reading “VALLEY OF BLOOD” just isn’t much fun.

Alley Girl (aka Renegade Cop)

The 1954 stand-alone novel “Alley Girl” by Jonathan Craig (real name: Frank Smith) was re-released in 1959 as “Renegade Cop.” I suspect that the book was written and published following the success of Jim Thompson’s 1952 masterpiece, “The Killer Inside Me”, as both novels feature sociopath cop protagonists.

The main character of “Alley Girl” is highly-regarded Detective-Lieutenant Steve Lambert, and the first time we meet him he is pounding whiskey before his morning shift while the naked 18 year-old he’s been banging is haranguing him about his bad habits.

The central mystery of the novel concerns Tommy Nolan who may or may not have killed somebody in a whiskey blackout. Detective Lambert is working the case and promised Tommy’s hot wife that he’d keep Tommy out of the electric chair if she sleeps with him. Classy guy, right? Meanwhile, someone else wants to make sure that Tommy is convicted for the crime and is willing to pay Lambert a ton of cash to make sure that happens. The detective has no ethical qualms about this conflict of interest and appears personally uninterested in the truth behind the allegations against Tommy.

Meanwhile, a good and honorable cop named Dave Kimberly wants to solve the murder for all the right reasons. His cop instincts won’t let him mind his own business and allow Lambert to work the case without the scrutiny of an honest colleague. Dave’s character is a ray of light in this novel filled with ill-will and corruption. Dave’s quest for the truth makes this crime novel a straight-up whodunnit mystery with a satisfying conclusion. 

Lambert is a reprehensible protagonist, and you need to be comfortable with that fact to make it through this short paperback. He feels like a 1950s prototype for the Vic Mackey character on the TV show, The Shield - a talented cop with no moral compass. If you can stomach spending so much time with a villainous main character who forces another man’s wife into depraved, coercive sex, you’ll find a pretty compelling police procedural here. I’m embarrassed to say that I enjoyed this book a lot. You might as well if you’re a twisted soul.

A couple postscripts:

The title “Alley Girl” makes no sense, and was likely the idea of someone at Lion Books rather than the author. There’s no obvious Alley Girl in the whole book. There’s a secondary female character of humble beginnings who could arguably be the Alley Girl, but naming the novel after her doesn’t add up. Blame the publisher. As a title, the 1959 Diamond Books re-release as “Renegade Cop” makes more sense even if it shows an utter poverty of imagination.

Jonathan Craig also wrote a bunch of police procedural novels called the '6th Precinct' series. The paperbacks spanned ten installments between 1955 and 1966. At first glance, it would seem that the series was trying to capitalize on the popularity of Ed McBain’s '87th Precinct' series, but Craig actually beat McBain to the punch by a full year. The '6th Precinct' novels follow two NYPD detectives - Pete Selby and Stan Rayder - through a series of murders that always seems to start with the discovery of a dead, nude woman. Craig’s series never saw the commercial success of McBain’s (both were inspired by “Dragnet”, it seems), but Craig was a solid talent and the books seem to be worth a shot. For what it’s worth, the late Bill Crider loved them, and the never-late Paul Bishop was lukewarm on the '6th Precinct'. I intend to break the tie and get back to you.

We have a feature on Jonathan Craig on the third episode of the Paperback Warrior Podcast.

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Felony Tank

Malcolm Braly's life ironically mirrors his 1961 prison novel “Felony Tank”. Braly was born in Portland in 1925 to the son of an automobile dealer. After that stint fell through, Braly's family hit hard times during the depression. Meaningless robberies eventually stacked up, culminating into multiple sentences in the clinger. While serving time in both Folsom Prison and San Quentin, Braly began to hone his craft – writing books about guys just like himself. Surprisingly, he wrote “Felony Tank” in 1961 behind bars. In fact, Braly went on to write two more in the pen - “Shake Him Till He Rattles” (1963) and “It's Cold Out There” (1966). All were originally released by Gold Medal due to editor Knox Burger convincing Braly to write during a visit to San Quentin. Arguably his best work was “On the Yard”, published in 1967 and adapted to film in 1979. Sadly, after Braly's parole, he only gained 15 years of freedom. He died in an auto accident at age 54.

“Felony Tank” follows a hopeless 16-year old named Doug, who in essence is simply Braly reliving his own helter-skelter youth. Doug's childhood and upbringing has led him to become a vagabond, riding the rails and hitchhiking to the next town and the next robbery. After leaving Phoenix, Doug arrives in the southwestern city of Ardilla (state never given). It's here that he commits nearly the same crime as the author – robbing a feed store for a few bucks before picked up by the police. He's taken to jail and placed in an upstairs “penthouse”, an ill-fated mid-point between county jail and prison. Most of the inmates at Ardilla are hardened lifers, they know the drill and are well-aware the next stop is a prison term. 

The book really becomes interesting with the internal politics. Without ruining it for you, deals are made, cigarettes are exchanged and Doug's cell of no-jobbers has a hacksaw blade. In a daring escape, the second half of the book begins with Doug and his older ruffian/mentor named Agnes on the run. Paralleling one of Braly's own robberies, the duo break into a laundromat to steal clothes (and a suit) and rob a nearby grocery store for what amounts to pennies. After sleeping in abandoned buildings and cars, the two find a warm hostess with stay-at-home mom Marion.

While the book possesses a turbulent blend of jail, escape and pursuit, the heart of the book is Doug's struggles with establishing some kind of existence. It's this moment when he meets Marion that really ebbs the tide. Marion is a mother of two, seemingly neglected at home by her husband, a sailor. With Marion's spouse gone for a few weeks, she invites the inexperienced Doug to her bed. He falls in love, but that's just another chapter in what amounts to be a full-circle novel that hopelessly reflects Braly's life behind bars. 

It had to be incredibly fulfilling, satisfying and all-together victorious for Braly to not only pen his own struggles, but to have a novel published by Gold Medal while in prison. “Felony Tank” is written from the heart on a gravel road of conviction and authenticity. It's a stellar first effort (nominated for an Edgar) and one that cements Braly's position in the “prison drama” niche of novels. While action and adventure fans may be swayed off course, Doug's story is so tragic that it warrants another page flip to see what's coming next. I highly recommend “Felony Tank” and it's available as both a Black Gat Books reprint (2016) or together in a Stark House collection with “Shake Him Till He Rattles/It's Cold Out There” (2016).

Buy a copy of this book HERE

Hell to Eternity

Edward S. Aarons started his writing career cranking out short stories for the pulps under the name Edward Ronns. The popularity of men’s paperback original novels in the 1950s gave Aarons a market to spread his wings with his stand-alone men’s crime and adventure books. His most successful venture was the Sam Durrell 'Assignment' series of spy novels that spanned over 40 installments between 1955 and 1970.

“Hell to Eternity” is an anomaly in Aarons’ body of work. It’s a 1960 Fawcett Gold Medal novelization of a screenplay (written by someone else) based on a true story from World War II. Although the events in the book ostensibly happened, the story has been filtered through the meat grinder of time and fictionalization: events occurred in 1944 that were recounted to a screenwriter 15 years later that were adapted for a book by the successful action novelist. This is good news for a reader who wants to enjoy a kick-ass war novel that reads nothing like a high school history textbook. The fact that the hero was a real guy is just an added bonus.

“Hell to Eternity” is the story of Hispanic USMC Private Guy Gabaldon and his experience at the Battle of Saipan during the war. For those without a deep knowledge of history, here’s what you need to know: Saipan is a small island in the Pacific about 135 miles from Guam and 1500 miles from Tokyo. The island was taken over by the Japanese during World War I and liberated by American troops during the sequel war. The isolated nature of this event allows the reader to enjoy the story of this battle without taking a deep dive into all the war’s machinations. It’s a bite-size story in a super-size war.

The reader is in good hands with Aarons as the storyteller. He introduces us to Gabaldon as he and his fellow Marines are positively terrified at the prospect of fighting the Japanese on the heavily-fortified island of Saipan. Flashbacks to Gabaldon’s childhood give us insight into his humble beginnings and the circumstances that taught a poor Los Angeles kid to speak fluent Japanese after he developed close relations in that immigrant community. As always, Aaron’s writing is superb, and the reader really comes to know young Gabaldon as a person while creating a rooting interest in his survival and success on this important mission.

For his part, Gabaldon is an understandable and imperfect hero. Fresh out of boot camp and scared out of his wits, he is far from a typical action star as he storms the beach on Saipan under enemy fire. He’s also conflicted as he sees Japanese soldiers dying at his feet because the immigrant community meant so much to him growing up. Flashbacks to Gabaldon’s life following Pearl Harbor and the internment of his Japanese-American friends add additional moral nuance to this exciting adventure story.

The interior of Saipan is a mountainous jungle pocked with caves deep into the woods. Those caves became fortifications and hiding places for the Japanese soldiers during the U.S. invasion. These hideouts serve as a great set-piece for Aarons to show us the way Gabaldon uses his language skills to coax enemy soldiers from the safety of their hiding places into surrender and interrogation. Meanwhile, there are plenty of bloody battles as the Marines fight Japanese Imperial soldiers armed with both guns and samurai swords. Aarons knows his way around a good action scene, and “Hell to Eternity” has plenty.

Later in life, Gabaldon went on to become a losing candidate for the U.S. Congress and the owner of a seafood business on Saipan where he lived as a civilian for 20 years before relocating to Florida for his final years. Before his 2006 death, Gabaldon wrote a non-fiction account of his war experiences called “Saipan: Suicide Island.” I don’t know much about Gabaldon’s own book, but there’s no way it’s more entertaining and exciting than Aaron’s fictionalized version of the story. “Hell to Eternity” is essential reading for fans of pulpy WW2 adventures. It will fit perfectly on the shelf next to Len Levinson’s 'Rat Bastards' series. Highly recommended.

Black Eagles #01 - Hanoi Hellground

I’ll be honest with you. I’ll only read one or two thick doorstop books a year, because I hate taking the risk that I’ll be trapped in the middle of a long-ass book that isn’t going anywhere. And at 330 pages and a tiny typeface, “HANOI HELLGROUND” is more than twice the length of the standard action/adventure series novel. But I’ve had a lot of luck with Vietnam War pulp lately, and I love the grinning skull covers on these 'Black Eagles' novels, so I tore into this series’ debut. Fortunately, the book keeps moving from start to finish.

It’s basically “THE DIRTY DOZEN” in Vietnam. An elite squad is put together for special combat missions, and the first assignment is to seize a huge pagoda complex way up in North Vietnam, kill all the military bigshots inside, find a hidden code descrambler there, and get out of the country with it after blowing up the place. 

The pagoda is the headquarters of an evil, ambitious general who curries favor with his superiors by maintaining it as a party palace where they can do all the nasty things they can’t get away with in Hanoi. Most of those things happen behind closed doors and involve underage boys, but the general himself is fond of the ladies. (As the Black Eagles close in on the night of the raid, he’ll be busily boinking a young commie cutie; his heat-seeking moisture missile will deliver a payload six separate times, a feat which even Longarm might envy.) 

The book is a little schizophrenic. On the one hand, it wants to be a serious military/espionage story, and it’s loaded with lots of details about weapons, strategy, Vietnamese culture and so forth. For example, a sequence where the squad learns high-altitude parachuting isn’t covered in a couple of sentences, but in page after page of exacting detail. 

But then on the other hand, the book wants to be pulpy, and after a few mundane chapters one sordid shocker after another pops up. Some of them are lurid, like the female commando who dates a hated communist enemy just to castrate him and stuff his package into his mouth as he bleeds to death. Some are tragic, like the innocent Vietnamese tribesmen who are captured by the communists and tortured with electrodes attached to their scrotum. And occasionally they’re just psychotically evil, as when the communists punish nuns by forcing excrement down their throats, all for the crime of sheltering the orphans of non-communists. There’s a lot of excess here, and not all of it is fun to read. But like they say, war is hell.

Writing under the pen name of John Lansing, author Mark K. Roberts is clearly trying a different approach than the one employed in his lightweight, sexy 'White Squaw' westerns. For the most part, “HANOI HELLGROUND” works. I liked all the combat action, and the inventive ways in which the Black Eagles deal with various perils on this mission. There was also ample backstory material on each member of the team, which helped flesh them out. (I still wasn’t really able to keep all thirteen of these guys separate and distinct in my mind, but that’s probably my fault rather than the book’s. I was still able to differentiate them as The Black Guy, The Hispanic Guy, The Jewish Guy, The Vietnamese Defector Guy, etc.) 

There was one glaring flaw in the story. The pagoda is situated up in the mountains of northern North Vietnam. There’s no good, level place there for an Army helicopter to land, so the Black Eagles have to parachute down, about a day’s hike away from the target. Okay, fine. Once the mission is completed, they have 48 hours to reach a secret pickup location in a flatter area, where a chopper will land and carry them out of the country. But that pickup location is hundreds of kilometers away, down in the southern part of the country. Huh? There’s no other out-of-the-way place in all of North Vietnam where a chopper can land? That’s insane. But it gives the author a good excuse to extend the book by eighty pages or so, as the Black Eagles desperately hijack vehicles and race south, trying to elude the enraged North Vietnamese who are right on their heels, and hopefully get to the pickup location before it’s too late. Some of the book’s best material is in these eighty pages, including a brutal showdown with the depraved general on a racing locomotive, so I guess I shouldn’t complain.

Yes, the novel is longer than it needs to be. But it’s lively enough, and there’s some great action in it, so I didn’t mind much. Roberts did a good job with it. And although he didn’t write any of the later books in the series, I’m looking forward to exploring the later chapters of the 'Black Eagles' saga… none of which are nearly as lengthy as this one was.

Hell Rider #01 - Hell Rider

Author Dan Schmidt contributed a lot to the genre in the 80s. While subbing as Don Pendleton he penned over 20 'Executioner' titles. He penned double-digit installments for both Super Bolans and 'Stony Man'. The author seemed to specialize in the team based books. His 'Eagle Force' line of Bantam books ran nine issues and as Frank Garrett he wrote another nine volumes of his 'Killsquad' series. 'Hell Rider' looked like the birth of another long-running series, but the idea was shelved (or wasn't shelved) after only two installments. Both are under the fitting name of Dan Killerman. 

“Hell Rider” was released in 1985 by Pinnacle and follows the trend of vigilantes on bikes. The series is about bounty hunter Jesse Heller, a Vietnam vet who's trailing members of a biker gang called Satan's Avengers. While in transport from 'Nam back home, he learned that his entire family was killed on a camping trip in California by these ruffians and he wants revenge. He rides a bike in the mostly abandoned stretches of the southwest and carries an Interarms Virginia Dragoon .44. I like the gun, but Schmidt talks about it way too much. Essentially, the bike and this Dragoon are the trademarks for “Hell Rider”.

Schmidt is a meat and potatoes writer, heavy on action, low on plot and absolutely knew his 80s audience. Heller rides, shoots straight and speaks the truth and we all love that. Early in the book he gets to shooting, taking a hostage named Mitchell and learning the whereabouts of a secret meeting between the Satan's Avengers and a rival gang. There's a brief side-story about two Texas detectives and a sexy spot with The Madame, a whip wielding dominatrix that runs Mob coke and sex to the bikers. Heller befriends an old guy in the desert, loads up on explosives and meets the bikers head on in what could only fit into a “Mad Max” or “Road Warrior” type of climax. In fact, other than learning about Dallas police and a few citizens, “Hell Rider” could have easily just been a doomsday book. It's universally compatible with what we know of that genre – hot sand, blistering highways, biker combatants, lone warriors and no law. Interesting that Schmidt didn't commit completely to that vibe. 

Overall, we've read it, watched it and loved it all before. This story has been done to death in all sorts of media, but Schmidt writes high-octane stories and this is no different. If you are just needing that Saturday afternoon gunfire then “Hell Rider” has you covered. I'll definitely hunt down and read the second and last novel of the series - “Blood Run”. 

Violent Hours

I’ve been beating my head against the wall trying to learn anything useful or interesting about the author of “Violent Hours”, Robert Walsh, but I’ve been coming up empty. I do know that he was a real guy, not a pseudonym. I also know that “Violent Hours” was his first published novel as a Signet paperback original in 1958, but it didn’t seem to be reprinted thereafter. I can find zero evidence that he ever wrote another book that ever saw the light of day.

“Violent Hours” is a half-decent crime novel that had the potential to be great. The story takes place over the course of 22 hours with each chapter comprising a small block of that time (kinda like Fox-TV’s “24”). At 126, big-font pages, it’s a quick novella-length read. 

Our setting is the sleepy, isolated, town of Sareto. Far away from the main highway, the establishment of Sareto doesn’t take kindly to strangers. When a Yankee named Bill Carney is stranded with car trouble, the local mechanic is compelled to report the presence of the stranger to Monty, the town’s sinister land baron. Carney’s first impression is that Monty may own the town, but it’s not much of a prize. To Carney, the town of Sareto looks “like a forgotten prop in a low-budget Western.” 

There is a tense and unsettling feeling to Sareto, and the dark underbelly of this dysfunctional town was the book’s strongest feature. We meet the sexy waitress, Marylou, who grew up with an unbalanced mother and a father who looked at her with lust in his eyes. It’s through Marylou’s perspective that we learn about Monty’s wealth and his history of deliberate cruelty. We later learn that the counterbalance to the Monty’s power is an earnest newspaperman who is preparing to blow the lid off Monty’s corruption through a tell-all article in the town’s paper. Soon enough, the journalist and the stranger meet and discuss a plan to expose Monty to the entire town. All of this is happening in the hours before, during, and after a town dance and beer fest sponsored by Monty to placate the townsfolk and ensure their continued loyalty. 

At its core, “Violent Hours” is just a western novel. In fact, I have a theory that the author may have written this short book as an 1800s western, and New American Library offered to buy it if he changed the setting to the 1950s by simply adding an automobile and a telephone. Consider this: A stranger rolls into a lawless town under the thumb a corrupt boss and a feckless sheriff. The mysterious stranger attempts to bring needed justice to the cowed townsfolk. Violence ensues. The time frame is really immaterial to the story.  

Unfortunately, after a promising start, “Violent Hours” quickly fizzles out. The writing is adequate but nothing special. The bad guys are truly reprehensible and our hero is sufficiently reluctant to get dragged into the internal workings of a small town’s drama before doing just that. The book just lacks originality or any character with real charisma. You’ve seen this story before in many different forms, most of which are more compelling than this iteration. 

Fun Fact: The cover art on “Violent Hours” was painted by Robert Emil Schulz, an artist whose claim to fame was drawing the Brawny Man on the paper towel rolls (good work if you can get it, I imagine). It’s a well-packaged, good-looking book worth owning for the cover alone. The story inside, while not terrible, just isn’t the best use of your time.

The Rat Bastards #03 - River of Blood

This third novel in the 'Rat Bastards' series maintains the very high standards of the first two. The guys are still on Guadalcanal, still fighting the Japanese, and still getting the job done. But the mental and physical burdens get heavier all the time, and we’ll see several of them begin to break down.

The men are individually haunted by fears that they won’t survive the next firefight, that their women back home no longer care about them, that the Army won’t give them the material support they need, and that each new assignment is more impossible than the last. They’re rats trapped in a maze from which there’s no exit.

Don’t get the idea that this book is just some sort of downbeat psychological study. It isn’t. The action comes at you almost continuously, and it’s gritty, tense and exciting. It’s because the author has skillfully brought us into the hearts and minds of these men that we care about what happens to them, in and out of combat. And that’s why this novel is vastly better than your typical 'Abel Team' or 'Phoenix Force' bang-bang shoot-‘em-up story. You won’t be just observing the action. You’ll be in it with them. 

The cover says the author is John Mackie, but it’s really Len Levinson, and I’ve yet to read a book of his that was less than outstanding. He’s the gold standard. However, this book isn’t for everybody. If you’re concerned that graphic depictions of hand-to-hand jungle combat might make you queasy, or if references to “Japs” might be upsetting, you should read something else. (I suggest HOP ON POP; my toddler loves it.)

This is a novel grounded in both reality and humanity. Of course, it’s still pulp fiction, and the magnitude of the action is enhanced for dramatic effect. That’s not a bad thing, it’s a good thing. You want history? Read a history book. You want a hell-for-leather, gut-churning, heart-pounding war saga that’ll keep you sweating through the action and devouring chapter after chapter way past your bedtime? You want RIVER OF BLOOD. 

River of Death

“River of Death” was a late-career release for Scottish adventure writer Alistair Maclean. It was his 27th book among the fiction and non-fiction contributions. By the book's release in 1981, Maclean had made it big, writing numerous international bestsellers and a few screenplays. Unfortunately, the author would pass away just six-years later at the age of 64 (strokes fueled by alcohol abuse).

Instead of frigid Arctic Circle atmosphere, “River of Death” is set in the scorching jungles of South America. This exotic adventure is prefaced with a peek at Germany's downfall in 1945. Two Nazi SS officers, Manteuffel and Spaatz, are stealing a fortune in Grecian treasure from peaceful monks. After loading the goods and burning the temples, Manteuffel leaves Spaatz high and dry, escaping in a submarine with the riches to parts unknown. Spaatz swears vengeance on the traitor.

Fast-forward twenty years and a multimillionaire named Smith hires an adventurer named Hamilton to escort him to the famed Lost City deep in the Brazilian rain forest. There's a host of last names beginning with H that really keeps the confusion at an all-time high – Hamilton, Hiller, Haller and Heffner. It's uncanny. Essentially, we all know who Smith really is and the reader would be a fool to think the Lost City holds anything other than Manteuffel, monkeys and monk money. Maclean isn't fooling anyone. The adventure includes cannibal tribes, an anaconda attack and a rip-roar ride on high-speed rapids. While all of this sounds exciting, it's as flat as Taylor Swift's chest. The obvious reveal and fizzled finale left me closing the book and pondering how to recoup four hours. “River of Death” is the river of boredom.

The Butcher #35 - Gotham Gore

You know how a schlocky action movie will promise you all kinds of crazy, high-velocity mayhem on the DVD cover, but then the movie delivers little or nothing of that and you’re left feeling ripped off?

Well, that happens with action/adventure novels sometimes, and “GOTHAM GORE” is a standout example. It’s the 35th and final novel in the Butcher series, written by Michael Avallone under the pen name Stuart Jason. 

The first disappointment an unsuspecting reader will face is that the Butcher doesn’t live up to his name. If you’re hoping (as I was) that he’s a kill-crazy vigilante psychopath, forget it. He’s actually a former Mafia guy who turned secret agent for the government. Oh well.

As always in this series, the novel opens with the Butcher having to deal with a would-be assassin. Once that’s out of the way, we slowly work our way into the slow-moving story, and slowly begin to realize that none of the cool stuff depicted on the front cover of the paperback will be forthcoming. 

The blurb on the back assures us that the novel has “something to do with black magic, hand grenades and a Demon Master--- with a little Nazi know-how thrown in for good measure.” Well, here’s what you’re led to expect, and what you’ll actually get: 

What you want: The evil Satanic ritual depicted on the book cover, with the human sacrifice of a busty virgin 

What you get: The Satanist is about as creepy as your dad’s accountant; the girl is no longer a virgin (ladies can’t resist the Butcher) and there will be no ritual and no human sacrifice

What you want: The Butcher blowing away bad guys with a machine gun, like he does on the cover

What you get: One pistol, no machine gun. The Butcher shoots only two or three people in the entire book

What you want: That Nazi with the “know-how”

What you get: The Satanist’s henchman is a German guy who never does anything remarkable, other than getting the drop on the Butcher several times but stupidly never killing him

What you want: That “Demon Master”

What you get: No demon, no master

What you want: The Satanist is scheming to blow up New York landmarks like the Empire State Building. Let’s see stuff get blown up!

What you get: Nothing gets blown up but the Satanist and his hide-out

What you want: The book’s called “GOTHAM GORE”, so let’s have some!

What you get: No gore, just a couple of explosions, and they don’t happen in Gotham 

What you want: A fitting conclusion to the saga of 'The Butcher', since this is the final book in the series

What you get: He calls Headquarters, gives the boss his report, that’s about it (mitigating factor: the book is finally over)

Johnny Rotten once asked his audience, “Ever have the feeling you’ve been cheated?” Why yes, Johnny, I have. I’ve read “GOTHAM GORE”.

Fargo #02 - Panama Gold

Ben Haas, as John Benteen, released this second 'Fargo' novel, “Panama Gold”, in 1974. It was featured with several publishers, with different artwork, and most recently reissued as a digital Ebook by the great folks at Piccadilly Publishing. The tag-line is: “Fargo got $20,000 to kill a man and stop an Army. The price was just right”. That conclusively nails down what amounts to be a really entertaining story with all of the familiar conventions we associate with this lionhearted adventurer. 

Fargo served under Roosevelt's “Rough Riders”, and has an allegiance to the “Colonel”. The book's premise has Roosevelt sending Fargo into Panama to stop a 300-man force from delaying the Panama Canal's construction progress. The assignment is to knock off the leader, Cleve Buckner, for a cool twenty grand. Buckner, under protection by Columbia, has been hired by the Germans in what amounts to a logical, albeit confusing, attack on the Army Corp of Engineers. The idea is that Germany will attack France. England will then come to France's aid, thus drawing them into the opposition. If the canal is closed, the the British Pacific Fleet will be blocked from quick entry into the Atlantic. The overall objective is so Germany can build a first-class naval force despite the British threats, thus the war is inevitable. Simplistically, Fargo needs to kill Buckner and we want him to. With his shotgun.

The familiar narrative has Fargo infiltrating Buckner's force through trial by fire. There's a side-story on Fargo's feud with a Major Kane, and a fling with Kane's wife. Hotel fights, dirty cards and horse soldiers are all packed into a fast-paced, light read at 140-pages. It's easy on the eyes and provides tremendous bang for your buck.

Fans of the series will appreciate the author's flair for weapons, incorporating Fargo's trademark arsenal of Fox shotgun, .38 revolver and the handy Batangas knife. These propel the action and keeps it all consistent within the character mold. Next installment is a trip up north for “Alaska Steel”.

Death's Sweet Song

Apparently in the 1950s, American highway motels were often organized as a series of small, stand-alone cabins on a plot of land. For some reason, the cabin-style motel was often used as a setting for hard-boiled crime novels, including “A Ticket to Hell” by Harry Whittington and “Vanishing Ladies” by Richard Marsten (Ed McBain).

“Death’s Sweet Song” by Clifton Adams is a compelling 1953 crime paperback with a dilapidated cabin motel as the setting. Adams was mostly known for his writing in the western genre, but his contemporary hard-boiled crime novels were absolutely top-shelf entertainment, and this one is no exception.

Right off the bat, Adams does a great job of establishing a setting filled with dust and despair. Our narrator, Joe Hooper, owns a super-crappy cabin motel and gas station along Route 66 in rural Oklahoma. No self-respecting tourist would ever stay in Hooper’s unattractive and sweltering cabins in the blistering summer heat. But that’s not the only thing that’s got Hooper down. In addition to the depression of economic failure, he’s also experiencing the malaise of an unenthusiastic relationship with an unremarkable girlfriend. Hooper is a man with a theory: everybody gets one shot in life to make it big, and if you squander that opportunity, there won’t be another. Seething with bitterness over his own failures, Hooper is worried that he either missed his one shot or that it will never come at all.

Enter Mr. & Mrs. Karl and Paula Sheldon.

When the seemingly upscale Sheldons arrive at Hooper’s motel, he is immediately suspicious. Why would a classy guy with a super-hot wife stay in a dusty fleabag? Why is Karl Sheldon lying about having car problems? And why is Paula Sheldon being so flirtatious with Hooper? Some snooping and eavesdropping reveal that the Sheldons are planning a payroll heist in the nearby town. After some proforma ethical waffling, it occurs to Hooper that this heist could be his fabled One Shot to make it big if he can convince the Sheldons to make him a partner in their scheme. The fact that this would entail working closely with the impossibly sexy Paula is an added bonus to the riches that await him now that his potential big break has arrived. But first, Hooper needs to sell Karl on the idea of taking him on as a partner.

Of course, complications arise, and that’s the fun of these femme fatale short crime novels of the 1950s. Not everyone’s agenda is clearly spelled out, and the honor among thieves is always in question. The author keeps the tension and anxiety high by constantly putting the reader inside Hooper’s inner monologue for the entire 150-pages. There is also a scene of brutal violence like nothing I’ve seen in a novel from the 1950s.

Heist novels are a blast, and this one is no exception. Fans of Richard Stark and Lionel White will be able to sink their teeth into this one as crime fiction comfort food. And thanks to a recent reissue from Stark House - packaged as a double along with “Whom Gods Destroy” - you can enjoy this Clifton Adams paperback without breaking the bank. Highest recommendation.

Rogue Lawman #02 - Deadly Prey

“ROGUE LAWMAN”, the first novel in Peter Brandvold’s series, is a very fine adult western. It’s not adult in the sense that there’s a sex scene every fifty pages (there isn’t). It’s adult in the sense that the characters are fleshed out enough to seem like real people rather than pulp archetypes. 

Much of the book’s action is prompted by a tragedy, in which Deputy Marshall Gideon Hawk’s little boy is murdered by an outlaw. Even more devastating for our hero, grief weighs so heavily on his wife’s mind that it drives her to commit suicide. His own anguish is all but unbearable, and when the outlaw beats the murder rap, Hawk goes rogue. Now he’ll devote the rest of his life to hunting down and killing the West’s worst predators, unburdened by the need to gather evidence, apprehend suspects, and wait for the courts to succeed or fail at dispensing justice.

That first novel is excellent, although ironically the author does such an effective job of conveying Hawk’s grief that the book’s entertainment value is dampened somewhat. This is not at all your typical pulp western material, in which good guys shoot bad guys and all’s well with the world. Hawk is a different sort of hero, grim, taciturn and obsessed, with a hunger for revenge that can never be satisfied.

The second novel in the series, “DEADLY PREY”, is consistent with the first, but some of its rougher edges have been sanded down. Hawk’s sadness has been replaced with acceptance. The action is more exhilarating, the outlaws are both menacing and colorful, and there are a few surprisingly sexy interludes, although there still isn’t much actual sex to interrupt the story. 

Brandvold has a knack for making his scenes vivid by salting his prose with lots of tiny descriptive details. For example, other writers will tell you there’s a fire in the fireplace, but Brandvold will tell you about the popping sounds made by exposed sap in the pine logs in that fireplace, and what the distinctive aroma of the smoke is like. Occasionally this kind of thing weighs down the action, but not often. Usually it just helps bring the scenes to life, and his attention to historical detail is another advantage.

Most of “DEADLY PREY” involves Hawk’s efforts to slaughter a huge gang of killers which has invaded a tiny Colorado town just as a snowstorm hits. Essentially, that means finding ways of killing them one or two at a time, without getting caught or killed himself, and it’s a very satisfying read, with plenty of tension and a few surprises. Along the way the reader will meet some unexpected characters, from the grizzled prospector whose only friend is the skeleton he shares his cabin with, to the outlaw who gets gunned down and farts on his way to the floor, to the roaring bisexual sister of the outlaw leader, who’s every bit as vicious and deadly as he is.

I visualize John Russell (of the old TV western “LAWMAN”) in the role of Hawk, and he’d have been perfect for it. I’m glad that two of my favorite genres--- the western and the vigilante story--- intersect so perfectly with this series. I’m also glad that there are several more 'Rogue Lawman' books on my shelf, yet to be read. And with any luck, Brandvold will write a few dozen more!

Dakota #02 - Red Revenge

“Red Revenge” is another top-notch effort from author Gilbert Ralston. It was released in 1974 through the popular Pinnacle Adventure line and marks the second installment of modern western series 'Dakota'. As I mentioned in my review of the series debut, “Dakota Warpath”, this character is strikingly similar to what Craig Johnson would do years later with his 'Longmire' character. 

This book mentions some of the events that transpired in the series opener. Ralston almost has a hometown feeling to the book, by outlining and describing all of the characters that make up this colorful Carson Valley town. Some were introduced in the prior book, some are new. Dakota has a love interest here named Alicia, and based on the book's ending she could be a recurring character throughout the series. The storyline of Dakota's sick father continues and concludes in this book. Also, the young Native American that Dakota assisted in the prior novel is a steadfast character here - sort of the action-assistant or inexperienced ally. Louis serves as a dialogue direction as Dakota explains to the reader what he's doing with the case.

The Board of Directors of Grayson Electric have been kidnapped for ransom in Lake Tahoe. The employees' families reach out to Dakota to offer assistance. They need to pay three-million in bearer bonds to the kidnappers, or heads will roll. While they sort out the collateral, Dakota starts the search for where the men are being held. This is about half of the book and is a really entertaining nod to detective fiction – checking leads, interviewing potential witnesses, etc. Eventually, Dakota taps a location and loads the guns.

Dakota, being Shoshone, has two blood brothers that join him for the rescue attempt. Ralston absolutely nails the liberation, from hunting and killing to an all-out assault. It's done remarkably well, and includes a fair amount of car run 'n gun and a robust body count. After the high-impact finale, Ralston doesn't just throw the sheets on the corpse. He lets us stick around for 20-more pages while the story is ironed out, bodies are named and Dakota himself explains his actions to law-enforcement. It's a unique angle that few authors rarely conceive and deliver. What happens when the smoke clears and the hero has killed the bad guys? It's not as black and white as the end credits make it seem. Ralston understands that and I applaud him for giving us a little more than standard volume feedback. 

Dakota hits the Big Apple next for “Cat Trap”. 

A Hell Of A Woman

Among the crime authors who rose to prominence in the 1950s, Jim Thompson seems to get more modern praise in literary circles than his paperback original contemporaries. His work is spoken with a kind of reverence that Harry Whittington, Charles Wileford, and Bruno Fischer never seem to receive. Was Jim Thompson really that much better?

“A Hell of a Woman” was a Lion Books 1954 mid-career effort from Thompson. It’s a 200-page, first-person con-man story told from the perspective of Frank “Dolly” Dillon, a door-to-door salesman working for Pay-E-Zee - essentially a walking department store peddling goods on credit installment plans to rural rubes. As the novel opens, we learn that Dillon is working himself into a financial hole and has been skimming cash from his collections to make ends meet with a lazy, dumpy wife in his roach-infested home. 

Thomson doesn’t waste any time getting into the intrigue. In the first chapter, Dillon is trying to sell silverware to an old lady and immediately finds himself in a dark and sexualized situation with the old lady’s buxom niece, Mona. We learn that the old woman’s practice of pimping Mona for sex to traveling salesmen in exchange for consumer products is nothing new, and smitten Dillon promises to rescue the girl from this life of perpetual sexual trauma. 

Thompson’s willingness to mine the depths of human depravity must have been one of the things that set him apart from his crime novelist cohorts. And the murders that take place in this short work are more shocking and violent than others from this era. However, a mere race to the bottom would have been meaningless if he wasn’t such a damn fine writer. The text is very raw, and his descriptions of women, for example, are simply brutal. Dillon’s first person narration is conversational, but it’s also the vehicle for a deeper understanding of his nature - he’s a grifter with a real - though easily compromised - conscience. 

Thompson employs a first-person literary perspective trick halfway through the novel and periodically thereafter that bolsters the idea that he wanted his pulpy crime novel to be more literary than other books of the time. But otherwise, this is just a very entertaining, well-written, gritty noir novel filled with anti-heroes, femme fatales, and double-crosses. It’s a great read and a terrific introduction to Thompson’s body of work. Maybe it’s not breaking new ground, but if the paperback original crime fiction of this era is your thing (and it really should be), “A Hell of a Woman” is truly essential reading.

87th Precinct #01- Cop Hater

It's intimidating to write a literary critique for Ed McBain's kickstarter Cop Hater. Written by Evan Hunter, it's the mantle piece for the police procedural book and the debut of the highly respectable 87^th Precinct series. According to the author, it was written in 1955 after spending a lengthy amount of time within the NYPD researching and planning. In the Thomas & Mercer re-print, Hunter's introduction provides an intimate peek at the book's development (which you can read for free as an Amazon download sample) and the conception of the pseudonym McBain.

While the police procedural could probably be linked to a handful of novels a decade before, the 87^th Precinct series was probably only rivaled by the show that influenced it – Dragnet. While detective Steve Carella is featured as a main character, the series is one of the first (if not first) to feature a conglomerate hero, the squad of cops that make up the fictional 87^th Precinct. The squad is a character just as much as the unnamed fictional city is. Hunter, while struggling with placing the series in New York City, found it much easier to fictionalize the city while using NYC as a primary blueprint.

While not ruining it for the new reader, the concept of Cop Hater is essentially that – a madman targeting police officers of the 87^th Precinct. Like a good Agatha Christie whodunit, the mystery enlarges as the corpses stack up. While never explicit or terribly violent (or I'm just numb), we familiarize ourselves with these officers only to find them shockingly killed off before our very eyes. We're at the scene of the crime, but never know the killer's identity until the end. It's not a first-person narration like a majority of detective fiction, instead it's the author leading us through the alleys, buildings and squad rooms of this sweltering city. Detective Steve Carella is firmly embedded in the action, introduced here along with his fiance, the lovable Theodora Franklin.

The muggy July heat plays havoc on these characters, eroding patience, love and goodwill with a toxic, febrile blanket of exhaustion. Hunter would steadfastly utilize weather as a character itself, inserting climatic changes to these stories to enrich and enhance the atmosphere. At times the dialogue is as simple as the police interviews – Who, Where, What and the allusive Why. It's our struggle every bit as much as the cops. By the closing pages it's all a frantic chase for the pre-smoking barrel, stopping the .45 slug from finding the next blue shirt. 

Cop Hater is masterfully penned, properly paced and is worthy of the praise heaped on it for half a century.

Get a copy of the book HERE.

The Enforcer #03 - Kill City

Andrew Sugar's third entry in his vigilante series 'Enforcer' is “Kill City”, released in 1973 by Lancer. Like the prior two books, “Kill City” was purchased by Manor and reprinted in 1976 with new, more superior artwork courtesy of George Gross (who did early 'Executioner' books before Gil Cohen took over). Gross's artwork really captures the feel of the book, detailing many of the action sequences found within. The red, white and blue color scheme is important to the story fundamentals – Enforcer Jason is preventing a mass terrorist attack on major US cities. With the obligatory ticking time bomb comes some political intrigue and subtext regarding a nation divided by color.

Like the series debut “Caribbean Kill”, the novel starts by revealing a wounded Jason after the finale showdown. The author paints enough sketchy brush strokes to give us a feel of the story, but leaves all the details and plot planning for subsequent chapters. In those, Jason is mugged off-assignment and rescued by a vigilante force called The Patrol. In the incident, the mugger shockingly turns the gun on himself, committing suicide on the sidewalk. Perplexed, Jason takes the mystery to the institute (the place where they make a new body for Jason every 90 days in an effort to fight crime worldwide). Collectively, the institute formulates a tactical infiltration of The Patrol. 

Combining the institute's resources, Jason utilizes a black associate named Calvin to tackle the assignment. The Patrol is actually the Caucasian vigilante force. There's also an African-American version stereo-typically deemed Brigade of Brothers. While the surface level indicates no foul play, Jason and Calvin infiltrate the two forces, black and white, and unveil a global conspiracy to detonate Suicide Stimulators (called Suzies) across major US cities. The overall effort is conducted by one of Jason's rivals from the first book. 

Sugar really nails this one, fetching the same sort of intrigue, mystery and explosive action as the predecessor, “Calling Doctor Kill”. While the clone bodies, Jason's body jumping and his masterful art of Ki have all been elements of the prior installments, these inclusions are more expanded with “Kill City”. Beyond what we already knew, Jason stumbles on a few new tricks while fumbling with the two criminal factions. Sugar, always explicit, throws in some X-Rated steam as Jason works over Janet, his love interest from book two. 

Overall, “Kill City” is a thrill-ride of epic proportions and continues to catapult the series into the higher echelon of the genre.

Thanks to Bob Deis of MensPulpMags.com for the assistance on the book's artist and artwork.