Punk & Other Stories

Cleve Adams (1885-1949) was a hardboiled crime-fiction author for the pulp magazines whose premature death robbed him from seeing his work be rediscovered in the paperback era. Author and literary scholar Ben Boulden has resurrected four of Adams’ best novellas from 1937-1941 into a modern volume called Punk & Other Stories. I’ve heard good things about Adams’ writing, so I was excited to dive into the title story from the March 1938 issue of Detective Fiction Weekly.

“Punk” is narrated by Jerry, whose job is collecting coins from slot machines and pinball games located in disreputable taverns. Jerry has two childhood friends: Big Ed, a local hood who owns the machines Jerry services and Slats, an honest police detective.

About a month ago, Jerry murdered a guy who also used to work for Big Ed. The cops are looking for the dead guy and suspect foul play. There’s a lot going on in this novelette: a love triangle, political corruption, more murders, mutilation, a frame-up and lots of hardboiled, tough-guy patter.

Adams was a solid writer with an ear for dialogue, and his style never slips into parody (like, say, Robert Leslie Bellem’s Dan Turner: Hollywood Detective). Like a lot of pulp writing of the 1930s, the novella is over-plotted with way too much happening. To his credit, the author does a nice job keeping all the plates spinning. It’s also plenty violent and action-packed with a tidy ending.

I’m thankful that a forward-leaning editor put this collection together, and I intend to dip back into it in the future. For reference, the other novellas are:

“Default With Doom” (1937)
“Frame for a Lady” (1938)
“Forty Pains” (1941)

Buy a copy of the book HERE.

Little Sister

Robert Martin (1908-1976) wrote a fair amount of crime and mystery paperbacks under his own name as well as the pseudonym Lee Roberts. Little Sister was a 1952 stand-alone Fawcett Gold Medal hardboiled private-eye paperback that has been reborn as a Black Gat reprint, including an insightful introduction by Bill Pronzini.

Our narrator is Private Detective Andrew Brice, and he is summoned to a new client meeting at a large estate. His client is a wealthy, attractive woman named Miss Vivian Prosper who has just gone through a financially-advantageous divorce. Vivian shares the lakefront mansion with her little sister, Linda — and since the novel is called Little Sister, you probably saw that coming.

Little Sister Linda is a 17 year-old whiskey-swilling hellion, and she stands to inherit a pile of money from a trust fund soon when she reaches 18. Linda intends to marry a 30 year-old gas station attendant, and Big Sister Vivian wants PI Brice to break up the romance because the loser boyfriend is clearly just trying to get his claws on the trust fund cash.

All of this is conveyed in the Chapter One meeting between Brice and Vivian. The reader sees where this is going, and then Little Sister Linda arrives home in her convertible, drunk-as-a-skunk with a dead body in the trunk. And THAT’S how you start a private eye paperback.

As a licensed professional, Brice is duty bound to report the corpse in the trunk to the police, but sexy Vivian has other ideas. Could the prospect of getting laid with the seductive divorcee possibly convince our PI to dispose of the body with no police involvement? That’s the kind of thing that could turn a hardboiled private eye mystery into a femme fatale crime noir paperback.

You’ll need to read the book to find out how Brice handles this and other dilemmas he confronts throughout this lean paperback. The plot eventually settles into a pretty standard PI mystery with Brice interviewing one witness after another until the situation becomes both more clear and more messy as red herrings arise. It’s all well-written with a sexy undercurrent thanks to the seductive sisters at the eye of the storm and the fact that every female interviewee throws themselves at Brice.

The climactic conclusion is a scene where the villain, now revealed, explains the motivation and execution of the murder in painstaking detail while holding a gun on Brice. It’s an overused trope in mystery fiction, but well-executed in this case.

And that’s the thing with Little Sister. This paperback breaks zero new ground for a private eye mystery of the 1950s. However, if you’re in the mood for a completely traditional and readable genre paperback, you could do a lot worse. It’s about as good as a better-than-average Mike Shayne novel. 

Buy a copy of this book HERE.

Conan - The Thing in the Cave

We've proven time and again that nothing is really off the coffee table here at Paperback Warrior in terms of books. We've covered graphic novels, magazines, paperbacks, hardcovers, and even audiobooks. So, why not a Little Golden Book review?

Chances are you've probably held a Little Golden Book at some point in your life. There are thousands of them. The first one was published in 1942 as a project of Georges Duplaix, then head of Artists and Writers Guild Inc. as a follow-up to the publishing concept of A Children's History. At the end of the first year, Simon & Schuster had a runaway hit with 1.5 million books sold. In 1958, Simon & Schuster sold Little Golden Books to Western Publishing, which then later sold it to Random House. 

I remember owning a lot of second-hand Little Golden Books, including some that were Golden Melody Books that played songs. But, my fascination was on the Golden Books special line of male-oriented titles published as A Golden Super Adventure. These special books, published in the 1980s, focused on toy-line franchises that often shared an animated children's television show. Brands like Masters of the Universe, Princess of Power, Centurions, Mask, Defenders of the Earth, and Adventures of the Galaxy Rangers. 

As a fan of Conan, I stumbled upon the lone Golden Book dedicated to the barbarian hero, The Thing in the Cave. It was originally published in 1986 as part of the Golden Super Adventure line. The book's cover was painted by the great Gino D'Achille (Fu Manchu, Barsoom, Flashman) while the interior pages were illustrated by the equally great Dan Adkins (Doctor Strange, Eerie, Creepy). 

Conan fans may remember a short story titled “The Thing in the Crypt”, which was authored by Lin Carter and L. Sprague de Camp and first published in the 1967 Lancer paperback Conan. This Little Golden Book publication, The Thing in the Cave, is a reworking of that story. It was authored by Jack C. Harris, a prolific comic book author and editor that worked for DC Comics penning titles like Wonder Woman, Supergirl, Batgirl, Robin, and the graphic novel Batman: Castle of the Bat. After leaving DC, Harris freelanced for DC, Marvel, and Darkhorse while also working for a trade magazine for the licensing industry. It was here that Harris received a press release from Golden Books about a series of Masters of the Universe publications being created for the Golden Super Adventure line. Harris connected with a colleague that led him to penning a number of Golden Books including Masters of the Universe, Batman, Dino-Riders, Super Mario Bros., Garfield, and this Conan book.

I would encourage you to read my review for the original “The Thing in the Crypt” (or just read that story). This Golden Book variation stays mostly true to form, but retains some safety measures for the sake of the young reader. In this version, Conan uses the chains to crack the hardened ice, thus allowing the snarling wolves to simply fall away into oblivion. In the original story, these snarling wolves chase Conan to the cave. The cave itself is substituted for the more sinister-sounding “crypt”. Also, the giant sword-wielding monster isn't so much a mummy, but instead is simply an animated statue made from rock. 

At 25-colorful pages, this was a fun little visual jaunt into “The Thing in the Crypt”, a fun, yet criticized story inspired by Robert E. Howard's literary work (mostly because it is the first story in the Conan paperback and is missing REH). My guess is this Conan title was inspired by the many Golden Book publications featuring He-Man and the Masters of the Universe. Nonetheless, this is a great collector's item and worth a couple of twenty-dollar bills for the pure nostalgia.

Buy a copy of this book HERE

The Sins of War

 John Rester Zodrow was a screenwriter of made-for-TV movies in the 1970s and 1980s who also authored four novels, including a WW2 thriller called The Sins of War, originally published in 1986 and currently available as a trade paperback reprint.

In the aftermath of the Pearl Harbor attack, the U.S. was focused upon filling the president’s request for 70,000 warships and 100,000 tanks. U.S. manufacturers worked around the clock to make this happen — particularly in New York City. The Sins of War is based on a true story about 1942 efforts to prevent the German sinking of newly-minted U.S. warships leaving New York harbor.

The allied victory in World War 2 is now the stuff of legends, but the early days of the war were anything but smooth. The U.S. and our friends suffered Naval defeats in Guam, the Philippines, Burma, and throughout the seas. Meanwhile, ships leaving the ports along the U.S. east coast were regularly sunk by German submarines waiting offshore, killing American troops and destroying supplies en route to our soldiers overseas. It was a grim dilemma, and the U.S. Navy was stymied in their efforts to stop it.

Meanwhile, in the book, a German-American secretive organization called The Bund are quietly loyal to Hitler and sabotaging the ships under construction through acts of terrorism and arson. Someone needs to do something, or America will be neutered in our efforts to save the world.

In the novel, President Roosevelt comes up with a plan: Have the New York Mafia patrol the waterfront ports where the warships are constructed looking for any signs of German saboteurs. Rather than having the U.S. Navy negotiate this deal with the mafia, the President tasks Roman Catholic Archbishop Francis Spellman to handle the deal since the mobsters are likely all Catholic. Roosevelt dubs the plan “Operation Underworld.”

Our hero is a welder in New York named Nick Remington working to secure the metal paneling on ships bound for the war in the seas surrounding Africa. Before becoming a welder, Nick was a Catholic priest driven from the clergy in the wake of a financial scandal. Nevertheless, the Archbishop chooses Nick to be the go-between with the mob and the Navy to coordinate the protection of the ports.

Along the way, there are conflicts and cooperation with Lucky Luciano’s New York mafia, a German social club in New York serving as a counterintelligence squad for Hitler, and a sexy military lady who partners with our defrocked priest to get the job done. Trust me, it’s a wild ride.

The author wrote the novel in the style of a propulsive men’s adventure paperback with short chapters — 70 of them over 300 pages — and pulpy dialogue with limited character development. The Germans are cartoonishly-evil and the Mafia characters are all walking stereotypes. To his credit, the author did not make this a faith-based novel as the characters find themselves in graphic sexual and extremely-violent situations. The action scenes are remarkably vivid and exciting.

This paperback is so much fun to read. It’s an audacious bit of historical fiction begging for a Hollywood adaptation. The reader can’t help but want to know more about the reality surrounding the implementation of this audacious plan. It seems that the facts largely came from a 1977 non-fiction book called The Luciano Project: The Secret Wartime Collaboration of the Mafia and the U.S. Navy by Rodney Campbell.

The climactic ending was a fun series of harrowing adventure set pieces similar to something you’d read in a Doc Savage pulp story. Overall, The Sins of War was, without question, one of the finest adventure novels I’ve read this year. Highest recommendation.

Buy a copy of this book HERE.

The Magpie Coffin

The genre “splatter western” came to fruition when Patrick C. Harrison III of Death's Head Press made it a company goal to release a series of western trade paperbacks featuring explicit violence and gore. There have been at least 13 paperbacks published by Death's Head Press as their “splatter western” offerings, but countless others have appeared from various self-published authors and small publishers. I've always enjoyed the western genre, so I borrowed a friend's copy of The Magpie Coffin (2020). It was written by Wile E. Young and represents the very first Death's Head Press splatter western title published. 

The Black Magpie is the book's anti-hero protagonist, a moniker heaped upon a notorious outlaw named Salem Covington. He's an American Civil-War Veteran that prowls the wild frontier (for reasons never really disclosed) killing and torturing bad people (?). He collects pieces of his victims – pieces of flesh, scraps of clothing – and uses them in black magic rituals to gain power. He possesses a gun that apparently (and magically) doesn't miss and it is revealed that Covington can't be killed by bullets. So, who the Hell is he then?

That's the part that Young never really dishes out to his reader, and that's the most frustrating part of the book's narrative. For reasons unclear to me, the author only provides hints of Covington's backstory and life purpose. For example, there is a brand of some sort below Covington's eye that provokes stark fear for anyone that sees it. But, what is it? Young really doesn't elaborate. There's an entire scene in the book where readers finally have the opportunity to learn more about Covington's mission when he meets “the coffin maker”. This man has some sort of history with Covington, but nothing specific is ever mentioned. It's all incredibly frustrating and senseless.

The Magpie Coffin's narrative features Covington on the revenge trail for the group of killers that murdered his mentor, a Comanche shaman named Dead Bear. Covington locates Dead Bear's corpse (far too easily) and puts him in a coffin wrapped in chains. But, Dead Bear is still somehow alive spiritually, which begs the question on why Dead Bear doesn't just perform his own revenge. Nevertheless, Covington rescues a young Union soldier and a prostitute and takes the two with him on a quest to hunt down the killers.

If you enjoy graphic violence often found in the horror and splatterpunk genre, then the sheer levels of brutality should be a pleasure for you. Like I wrote in my review for Suburban Gothic (co-wrote by a splatter western author Bryan Smith), the details of raping a corpse, scissoring off testicles, or sewing lips shut does nothing for me. It's all shock and awe, which isn't a satisfying substitute for a riveting story. There's not enough left in The Magpie Coffin contents to warrant a compelling read. This is standard volume feedback with gore. Nothing more, nothing less. Skip it.

Buy a copy of this book HERE.

Bounty Man Kildoon

Conventional wisdom is that Jory Sherman (1932-2014) was the man behind the Robert Eagle pen name for the paperback Bounty Man Kildoon. The novel was published in 1975 by Major Books and features an Old West manhunter who delivers the severed heads of his prey to collect rewards.

A skeptic might think the headhunting thing was just a cover artist’s gimmick, but the opening chapters establish that Kildoon is the real deal. By page two of the novel, the reader is treated to a description of the putrid, rotting head hanging from Kildoon’s saddle horn. He rides the trail cognizant of bushwhackers who may seek to swipe the decomposing head in exchange for the bounty.

It takes a couple chapters for a plot to develop, but once it does, it’s a familiar one. A comely young widow inherits a modest ore mine that a rival mine-owner wants to buy for a lowball price. The widow and her Oriental helper are being threatened by thugs to put pressure on her to sell. She hires Kildoon to protect her homestead from her enemy’s henchmen. And that’s the problem. 

The range war between two rival landowners was a serviceable western, but nothing you haven’t read before. It was quite different in tone and execution from the opening chapters about a decapitation freak bounty man. I wanted more of the loony hero galloping around the Wild West with a decomposing heads strapped to his saddle.

In the opening chapters, the author writes fantastic scenes of bone-crunching, stomach-turning graphic violence - likely in an attempt to one-up or surpass the Edge series, which predates Kildoon by four years. He falls more into a ho-hum, traditional western rhythm for the rest of the novel with hardly any violent gore or dismemberment.

If you’re looking for the most violent westerns in print, stick with the Edge or Apache series titles. Bounty Man Kildoon showed great promise, but failed to deliver the bloodshed as advertised.

Acknowledgment & Addendum:

Thanks to James Reasoner for his assistance in unmasking Jory Sherman as the likely author of Bounty Man Kildoon. If you’re looking for a great stand-alone western, check out his new one, Texas Bushwhack, available HERE.

There was a sequel to Bounty Man Kildoon called Bounty Man’s Target: Wanted Dead or Alive by Buck Adams, also published by Major Books. Why they didn’t use the same house name as the author of this two-book series is a mystery lost to the ages. Nevertheless, I’ve ordered the paperback. Whether I read it or not is anybody’s guess.

Buy a copy of this book HERE. 

Joe Gall #11 - The Fer-De-Lance Contract

James Atlee Philips (1915-1991) authored 22 novels in the Joe Gall espionage adventure series between 1963 and 1976 under the name Philip Atlee. Much of the series has been reprinted by Mysterious Press, so you won’t have to do much digging to score a copy. The Fer-De-Lance Contract is the 11th Joe Gall adventure from 1970.

Grouchy CIA assassin Joe Gall is our narrator, and the novel opens with his arrival on the Caribbean island nation of Antigua, which Gall hilariously describes as a “sunbaked poorhouse.” He’s a politically-incorrect curmudgeon and no fan of the Caribbean islands or their native people. He’s also rather hilarious in his narration leaving me surprised at the quality of Philips' prose. He really was a delightful writer.

The mission involves a group of black rebels planning to seize all transportation and communication facilities throughout the Caribbean islands. This includes cruise ships, freighters and private yachts as well as radar and weather stations. The only nations exempt from this plan are, of course, Haiti and Cuba. The Black Militant mastermind behind this planned regional disruption of the public order is employed as the purser on a cruise ship, and Gall needs to be on-board to stop the scheme.

The plot is interesting and easy to follow as the story bounces from the Caribbean island of Antigua to Dominica to St. Lucia. However, halfway through the paperwork, a nemesis from the previous installment, The Trembling Earth Contract (1969) — in which Gall famously goes undercover as a black man by dying his skin — returns to continue the fight. The author does a nice job of getting the reader up-to-speed, but in a perfect world, one would read them in order (I didn’t).

The Joe Gall series has a reputation among Men’s Adventure Paperback connoisseurs as having plotting problems. The stories either make no sense or go off the rails midway through the novel. This one was pretty straightforward. The action scenes were solid. The social commentary involving the black power movement of the era wouldn’t fly in today’s world, but that’s part of the fun of reading paperbacks from 53 years ago. Overall, The Fer-De-Lance Contract was fun adventure novel and an easy recommendation. 

Buy a copy of this book HERE

Raven #01 - Swordmistress of Chaos

As I cited in prior genre reviews here at Paperback Warrior, the 1970s was a fertile time for sword-and-sorcery to dominate pop-culture. The British publisher Corgi took advantage of the marketing explosion to offer a five-book series of genre titles called Raven. These aren't to be confused with the men's action-adventure series of espionage titles also called Raven, authored by Donald MacKenzie. Instead, these were bonafide sword-and-sorcery novels authored by Piccadilly Cowboy writer Angus Wells (Breed, Hawk) and horror and fantasy writer Robert Holdstock (Berserker, Night Hunter) using the pseudonym Richard Kirk. The first novel, Swordmistress of Chaos, was published by Corgi in 1978 with a cover by Chris Achilleos (Conan, Heavy Metal). Beginning in 1987, the series was published in the US by Ace using new covers by Luis Royo (Conan). 

Like the 1960s Conan paperbacks published by Lancer and edited by Lin Carter, the Raven books have a handy map at the front indicating a large body of water with two islands in the center, surrounded by places called The Frozen Peaks, The Lost Mountains, The Ice Wastes, The Lost Lands, etc. This sprawling kingdom is where the Raven novel takes place. In the far south is a tiny shoreline village called Lyland, lying in the Southern Kingdoms. It is here where the Raven origin story begins.

Su'an was a young girl when a large gang of Karhsaam slave-raiders invade her village. Her father is brutally tortured and killed and her mother is raped and murdered. Su'an is hauled off to a slave-pen that will be used for prostitutes in Karhsaam. These slave-raiders are led by a cruel warrior named Karl ir Donwayne. Thankfully, Su'an escapes her bonds one night and escapes the pen. As she's running across the tundra to flee her captors, she runs into a trap led by vicious snarling hounds. Just before she's re-captured, a band of outlaws led by a man called Spellbinder sweeps in to save her with the help of a large raven. Soon, Su'an is renamed Raven and told by the outlaw gang that she has a great destiny awaiting her. 

By page 40, Raven has spent over a year with Spellbinder and the outlaws perfecting her fighting skills. Her weapons of choice are sword, shield, and throwing stars that she keeps hooked to her belt. While she makes love to Spellbinder, readers quickly learn that Raven belongs to no man or woman. She is fiercely independent, making her character similar to that of Red Sonja. 

Over the course of this 170 page paperback, Raven's goal is to hunt down and kill Karl ir Donwayne. She discovers that he has joined forces with the Kraggs, the larger of the two islands sitting in the large body of water shown on the map. To get to him, the narrative takes Raven and Spellbinder on a ship to join a gang of Viking-esque raiders called Sea-Wolves. Raven has a sexual relationship with the Sea-Wolves leader, a cunning warrior named Gondar. Teaming with the Sea-Wolves, Raven must locate a sacred skull to gain access to Donwayne's location. The search for this skull makes up a large portion of the book's narrative, with the ragtag group journeying through a desert, navigating a harsh mountain pass, and ultimately fighting hideous Beastmen in a sweltering jungle. When the skull is found, the narrative switches to Raven and the group fighting the Kraggs. There is a side-story of a rival magician wanting revenge against Spellbinder as well as a number of one-on-one battles between Raven and various other combatants. 

Swordmistress of Chaos is an adult-oriented sword-and-sorcery novel that does feature some R-rated sex scenes. These are never as graphic as an adult-western like The Trailsman or Longarm, but still possesses some mature content. Raven not only has romantic encounters with Spellbinder and Gondar, but also two sessions with another female. While I've read that these Raven books are pure porn, nothing could be further from the truth. None of this is what I would consider particularly provocative. 

As a sword-and-sorcery novel, this Raven debut is chock-full of action and adventure complete with nautical exploration, sea battles, sword-fighting, magic wielding, political strife, and the obligatory revenge-plotting. While I think the last 20 pages were disappointing, the “big baddie boss-fight” was extremely rewarding and vividly violent. While the main story is wrapped up in this book, I'm anxious to discover what adventure is awaiting Raven and Spellbinder next. I'm all in on this series and you should be too. Recommended!

Buy a copy of this book HERE.

The Trailsman #87 - Brothel Bullets

Jon Messmann (1920-2004) created the popular Trailsman adult western series and the superior, but less successful, Canyon O’Grady series. In Trailsman #87 from 1989, Messmann brings these two heroes together for the first time in a battle against the white-slavery skin trade.

The paperback hits the ground running with Skye Fargo (The Trailsman) rescuing a teenage girl from a thug who snatched her off the trails to make her work as whore in Cactus Corners, Arizona. Fargo is a sex-positive kinda guy, but this forcible arrangement offends his sensibilities. The girl’s sister is being held at the brothel, and there’s a rich father who will pay to have his daughters returned. It’s hero time.

Recovering the girls is simple enough, but Fargo is re-hired to capture the human traffickers behind this kidnapping operation and deliver them to the father’s ranch for some frontier justice. Along the way, he teams up with a plucky woman whose best friend was kidnapped by the same crew.

Brothel Bullets was released in March 1989, three months before the first Canyon O’Grady novel. It’s clear that Messmann was hoping to hype the character in The Trailsman before rolling out the full O’Grady experience. O’Grady doesn’t make his appearance until page 122 of this 166 page paperback. It’s a brief team-up, and O’Grady doesn’t even get laid or discuss his day job as the President’s own secret agent. In fairness, O’Grady’s appearance isn’t mentioned on the book’s cover, description or inside blurb, so the publisher wasn’t overtly hyping this prequel. I suspect I’m probably the only reader mildly excited about this glimpse into the Jon Sharpe Extended Universe.

In any case, Brothel Bullets is a damn fine installment in The Trailsman series. There’s a solid mystery regarding exactly who is behind the sex trafficking operation and plenty of action sequences along the way. Because this is an adult western, there’s many hot sex scenes, if that’s your jam. The adult westerns tend to be fungible with little to distinguish one title from another, but this one is a standout among them. Read and enjoy.

Fun Fact: Canyon O’Grady and Skye Fargo team up again in Trailsman #100: Riverboat Gold from April 1990.

Buy a copy of this book HERE.

Barsoom #02 - The Gods of Mars

The second of Edgar Rice Burroughs' Barsoom series of sword-and-planet novels is The Gods of Mars. It was originally published as a five-part serial in The All-Story between January to May, 1913. In September, 1918 the serial was compiled into a full-length novel and published by A.C. McClurg. I thoroughly enjoyed the series debut, A Princess of Mars, and I encourage you to read my review of that novel HERE.

In events that aren't particularly clear, John Carter is transported back to Mars after his ten year absence from the Red Planet. The hero apparently died on Earth, and when he awakens it is in the afterlife area of Mars known as the Valley Dor. Think of this place as a sort of purgatory. When Carter arrives here, he witnesses a race of Green Martians savagely attacked by flesh-sucking “Plant Men”. If this purgatory isn't horrible enough, any survivors of the Plant Men vampire-like monstrosities are then consumed by the “gods” of the place, a white-skinned race called Therns, which also eat their victims. 

These opening chapters depicting the events associated with Carter's arrival in Valley Dor are similar to  the horrifying descriptions found in Dante's Inferno. Burroughs' pulls no punches submerging these opening segments into a nightmarish not-so-traditional horror setting. Even in 2023, Burroughs proves to be quite the impactful horror writer (intentional or not). The descriptions of the howls from the cliffs and the “sucking” of blood and flesh were just so memorable. These chapters are amazing. 

This descent into “Hell” continues when Carter, and his old friend Tars Tarkas (Tars is here searching for Carter) escape the Thurns (with a slave girl). However, their escape is short-lived when they run into another race of Gods populating this part of Mars. The Black Pirates of Barsoom, referred to as “First Born” are an ancient race of Martians that feed off of the Therns. Carter and Tars are transported to the underground caves of Omean, a giant prison empire controlled by a “goddess” calling herself Iss. 

There is more action, horror, swashbuckling, science-fiction, sword-and-planet, fantasy, and genre-defying literature in this 190 page paperback than countless other genre novels combined. The Gods of Mars is a more superior work than A Princess of Mars and takes into consideration a lot of religious theory. Valley Dor is a self-indulgent scam created by self-proclaimed Gods to further their own interests. The concept of multiple races in combat over religion is parallel to our own culture now. Burroughs uses aspects of religion, politics, and world history to create Mars' culture, lineage, and all of the various empires, races, and competitors vying for superiority through aggression. It's really a mesmerizing mix that is equally entertaining as it is clever. 

Like the Tarzan novels, Burroughs does fall into his own literary traps with events that are cyclical. In the Tarzan series, Tarzan eventually has a son that displays all of the same heroic characteristics. The same can be said for this series as Carter discovers he has a son on Mars that is an expert swordsman. Tarzan's love interest is often captured by various bad guys and the story revolves around her rescue. The same is found here as Carter jaunts from place to place freeing his enslaved lover and friends. Often, I found that the story was an endless cycle of “capture and rescue”, which I've come to accept as the signature of Burroughs writing style. Love it or leave it. 

The Gods of Mars is extraordinary even with the above-mentioned flaws. It is a high water mark  of Burroughs literary legacy and one that may not be topped with future series installments. I'll be the judge of that as I continue my journey through Barsoom. However, this novel is a mandatory read.

Buy a copy of this book HERE.

Zanthodon #03 - Hurok of the Stone Age

Lin Carter's third installment of the Zanthodon series, also referred to as the Eric of Carstairs series, is Hurok of the Stone Age. It was published by DAW Books (423) in 1981, and features illustrations by Josh Kirby (Krull, Star Wars: Return of the Jedi). If you aren't familiar with the series, I encourage you to read my reviews of the first two installments before reading this review. 

The prior novel, Zanthodon, ended in a cliffhanger as Darya was captured by Barbary Coast Pirates. In this novel's beginning, both Eric and Professor Potter (both men from our present-day USA) have been snatched by what the folks of Zanthodon refer to as Dragonmen. They earned this title because they wear magic armbands that allow them to telepathically control dinosaurs! So, these Dragonmen capture Eric and Professor Potter and take them across miles of Zanthodon's baked Earth to the Scarlet City of Zar. There, the two meet the Sacred Empress of Zar, a woman named Zarys (who is like the twin-sister of Darya).

Meanwhile, Hurok and Jorn the Hunter embark on a rescue mission to retrieve their friends from the Dragonmen. This side-story adventure has the two facing near-death experiences as they cross a treacherous mountain pass called the Wall of Zar and an inland sea known as the Lugar-Jad. Additionally, there are other side-stories that involve a guy named Garth searching for his daughter Yualla, and Tharn searching for Darya. 

Make no bones about it, Hurok of the Stone Age is a convoluted novel packed with alternating side-stories within chapters that make up “parts” of the book. Often, I lost track of who the characters were, which tribe or type of people they represented. When you have characters that are Zarian, Drugar, Sagoth, Cro-Magnon, Thanadar, Gorpaks, etc., I nearly needed an organization chart to just figure it all out. At one point, I decided to just enjoy the adventure and let it all just sort of flop over my head on the who's who battle for clarity. In doing so, I found I really enjoyed the book, particularly Professor Potter's participation in the narrative and his quest to bring gunfire to this bizarre world. 

If you enjoy Lin Carter's absorbing, self-indulgent storytelling – high on character count, exotic locales, plot holes a mile wide – then this is a really fun read. Punt the logistics, suspend disbelief, and look over the convoluted meshing. In doing so, you'll not only love this novel, but appreciate the entire series. 

Buy a copy of this book HERE

October Screams - A Halloween Anthology

Kangas Kahn film company have released horror films like Fear of Clowns, Garden of Hedon, and Terrortory over the last 20 years. In 2015, the film company launched Kangas Kahn Publishing, a small publisher that have released titles like With Teeth and Halloween: The Greatest Holiday of All. This Halloween season, the company has published an impressive short-story collection called October Screams: A Halloween Anthology. It is 27 stories authored by some of Paperback Warrior's favorite horror writers. 

Here are some of my favorites from this collection:

Ronald Malfi's “Tate” is a holiday-themed story that centers on a grieving couple on Halloween. It begins with Nick leaving the house to buy some candy for the visiting trick-or-treaters that will surely be arriving. His wife Alice waits patiently for his quick return, but begins to worry when the minutes turn into hours. When Nick returns, he's upset and heads straight to his dead son's bedroom. Alice comforts him, but both are surprised when a boy arrives at their door that resembles their deceased son. As the story unfolds, readers learn more about the boy's death and the finale was a throwback to the old EC Comics horror tales of the mid-20th century. “Tate” was really effective.

In “Perfect Night for a Perfect Murder”, author Jeremy Bates uses the short-story format to present this first-person perspective on how to properly commit premeditated murder. The protagonist is a crime-fiction author that is detailing the advantages of planning the perfect murder to coincide with what he persists is the best day of the year for murder, Halloween. The story is a blend of dark humor and crime-fiction, and it ends with a little twist that I could see coming. Very enjoyable.  

“Masks” is written by Brian Keene and Richard Chizmar and involves some kids pulling a convenience store robbery on Halloween night. There's some social commentary about Covid masks (no doubt Keene's doing) as the kids don costumes to rob the place. As the robbery ensues, one of the kids is forced to shoot a female customer that's wearing a devil mask. When the kids make the getaway, they begin noticing that all of the streets are empty. There is an eerie silence. When the kids are beckoned to the home of a friend, they see more people wearing devil masks. While the story is a bit scrambled and seems incomplete, it nonetheless provided plenty of entertainment. 

I did enjoy man of the other stories, including Kealan Patrick Burke's haunting “afraid of the dark” tale “Let the Dark Do the Rest” as well as the clever, touching doll-perspective short, “Doll”, by Ryan Van Ells. Overall, this collection has some hits and misses, but is sure to please fans of horror stories. If you are a Bates, Keene, Chizmar, and Malfi fan, then these stories alone are worth the price of admission. Recommended.

Buy a copy of this book HERE.

Atomic Werewolves and Man-Eating Plants

The pulp-fiction and men's action-adventure connoisseurs Robert Deis and Wyatt Doyle are back at it again with a brand new volume for their Men's Adventure Library series (published by New Texture). The book is aptly titled Atomic Werewolves and Man-Eating Plants and it is a beautiful collection of vintage men's adventure magazine stories about ghosts, aliens, robots, vampires, werewolves, and creepy rats. Like many of their prior offerings, this book is available in an expanded hardcover edition as well as paperback.  

The collection begins with “A Century of Weird Tales”, written by PulpFest organizer Mike Chomko. This is an informative history on Weird Tales magazine's history, including full color cover panels by the likes of Virgil Finlay, Matt Fox, and Margaret Brundage. Chomko illustrates how Weird Tales really found its identity in 1924 when Farnsworth Wright assumed the editorial role. At that point, the magazine began a prosperous creative flow populated by some of the best writers of the 20th century – Robert Bloch, Robert E. Howard, Henry Kuttner, Hugh B. Cave, and Manly Wade Wellman, as well as artists like Hannes Bok, Jack Williamson, and Margaret Brundage. 

In “Weasels Ripped Their Flesh”, horror editor, critic, and author Stefan Dziemianowicz examines the influx of early, weird pulp-fiction stories that appeared in the mid to later 20th century Men's Action-Adventure Magazines (MAMs for short). Dziemianowicz points out that these MAM editors would often browse back issues of old pulp magazines to find riveting stories they could feature in their own publications. Titles like Cavalier, Fury, Men, and Peril featured stories previously authored by the likes of H.P. Lovecraft, Ray Bradbury, and Theodore Sturgeon. The article also includes artwork by John Leone and James Bingham.

Both Deis and Doyle offer their own experienced insight on “A Turn for the Weird:, a massive 27-page essay that not only explores the richness of weird pulp-fiction stories in the pages of MAMs, but also serves as an informative introduction on the many stories that saturate this impressive short-story collection. The duo also use this medium to explore the idea of MAMs historically featuring brawny, barrel-chested heroes that were impervious to harm. They show a stark contrast between the usual flavor of MAM writing to the more harrowing horror and terror tales that were sprinkled in. In these stories, readers welcomed the change and grew to accept that these heroes were prone to “fear, panic, mutilation, and fatalism.” The text also examines how the violence and savagery of these MAM stories served as an unexpected coping tool for military veterans that predominately bought and read these publications.

The stories culled from the MAMs and presented here offer a variety of creatures, traditional horror, science-fiction, and just plain 'ole weird writing. The authors featured include Gardner F. Fox, H.P. Lovecraft, Manly Wade Wellman, Rick Rubin, and Theodore Sturgeon. For eye candy, glorious artwork from John Leone, Basil Gogos, Mark Schneider, Vic Prezio, Clarence Doore, Dwight Howe, Fernando Fernandez, John Duillo, Norm Eastman, George Cross, and Mort Kunstler to name a few.

Needless to say, if you love horror, science-fiction, pulp-fiction, MAMs, or collectively the amazing body of work created by both Robert Deis and Wyatt Doyle, then this book is a mandatory addition to your library. With a title like Atomic Werewolves and Man-Eating Plants, why wouldn't it be? 

Buy a copy of this book HERE.

Voodoo! A Chrestomathy of Necromancy

Bill Pronzini (b. 1943) saw his first novel, The Stalker, published in 1971. His writing career has flourished with over 50 stand-alone novels as well as numerous novels in his series titles like Carpenter and Quincannon and Nameless Detective. Aside from being a prolific author, Pronzini's career is often celebrated for his anthology editing. He has collaborated with the likes of Martin Greenberg, Barry Malzberg, and Carol-Lynn Waugh for nearly 100 short-story collections in genres like crime-fiction, horror, and western. One of the first Pronzini anthologies I read was Voodoo! A Chrestomathy of Necromancy. It was published as a hardcover by Arbor House in 1980.

This collection is presented in three parts. Part 1: Traditional Voodoo features stories by Cornell Woolrich, W.B. Seabrook, Robert Bloch, Carl Jacobi, and Henry S. Whitehead. Part II is Voodoo Elsewhere and Otherwise, consisting of stories by Robert Louis Stevenson, John Russell, Edward Hoch, Mary Elizabeth Counselman, Bryce Walton, and Morris West. The final part is The “Ultimate” Voodoo, which is simply one tale by Henry Slesar. 

The stories in this volume are culled from numerous pulps like Weird Tales, Dime Mystery, Rogue, and Adventure. One original story appears here, “Exu”, by Edward D. Hoch. 

In sampling the collection, I began with Robert Bloch's story “Mother of Serpents”. Pronzini's introduction states that the story was first appeared in Weird Tales in 1936. Bloch was only nineteen years of age when the story was published, two years after the author's first professional sale to Weird Tales in 1934. “Mother of Serpents” is a fictional tale based on factual events (presumably the leadership of Fabre Geffrard). It tells the story of a new, unnamed president arriving to power in Haiti. This new leader wants to remove the “old world” from the country. The narrative takes readers through the president's life as a boy, his mother's mastery of the dark arts, and the horrific event that mires his presidency in the very thing he wants to eliminate – voodoo. It's a great story that accomplishes a great deal despite the short length. Of note is the strained, bizarre relationship between the president and his mother, an element that Bloch will successfully use later in his smash hit Psycho. 

Bryce Walton was a staff correspondent for Leatherneck Magazine, and after WWII transitioned into writing for the mystery, detective, western, and sci-fi pulps. Walton's contribution to Voodoo! is his short “The Devi Doll”, which originally appeared in Dime Mystery in 1947. In the story, New York artist Earl breaks up with his girlfriend Crita, a French woman who has a hobby of voodoo. But, Crita knows that Earl really broke up with her because the new girl, Jean, is extremely wealthy. When Earl makes his case that he no longer loves Crita, she curses him. Later, Earl finds that a small, miniature version of Crita is “growing” out of his shoulder. Crita whispers terrifying things to Earl, which eventually leads to terrible things happening to Jean. Walton's writing is terrific with a smooth prose that serves as a sort of countdown to Earl's demise.   

Used copies of Voodoo! A Chrestomathy of Necromancy are out there. You can also get a real bargain by searching for the giant Arbor House Necropolis hardcover. It was published in 1981 and not only features the entirety of Voodoo!, but also collects two other Pronzini-edited anthologies about mummies and ghouls. Spooky, and darn-near mandatory for vintage-fiction readers. 

Buy a copy of this book HERE.

Snake-Bite and Other Mystery Tales of the Sahara

Robert Smythe Hichens (1864-1959) was a journalist, music critic, playwright, lyricist and novelist. He saw his first novel published in 1886 when he was just 17 years of age. His most popular works include An Imaginative Man (1895), Flames (1897), and The Slave (1899). Many of his novels were adapted into film or plays, including The Paradine Case, which was directed by Alfred Hitchcock in 1947. Stark House Press has published a collection of the author's short-stories that include mystery and intrigue set in North Africa. The book is called Snake-Bite and Other Mystery Tales of the Sahara and features an introduction by literary critic S.T. Joshi.

In the story “Desert Air”, an astute worldly traveler recounts his trip to Beni-Kouidar, a windswept city in the Sahara Desert. It is here that the narrator and his companion stumble upon a young exotic dancer that has ties to a powerful Sheik. After being warned to stay away from the young woman, and to leave town, the two overstay their welcome and misfortune falls on the companion. 

“The Desert Drum” is a first-person account of a traveler riding through the tiny hovels called Sidi-Massarli in the Sahara. His reason for explaining his travels is the examination of the “desert drum”, a local superstition that these mysterious drum sounds beckon death. In town, the narrator finds a lawman who has a prisoner tied to his saddle. The lawman explains that the prisoner murdered someone, served prison time, and is now being returned to his hometown to go free. Later that night, the trio of men hear the ominous sounds of the “desert drum”, a sign that one of these men will surely be murdered.

In Joshi's introduction, he points out that Hichens was fascinated by the “eternal feminine”, highlighting the voided space both physically and emotionally between man and woman. The stories in this collection share a location setting – the Sahara Desert – but also a general theme of man lusting for woman. Often, these are performers that have a resound effect on the travelers and businessmen they entertain. In “The Charmer of Snakes”, the stage actress Claire enters the life of Renfrew, creating a life disruption. The same can be said for “The Desert Drum”, where the young prisoner commits murder just to return to prison to see the dancer he's smitten with. 

These stories are entertaining, and showcase Hichens storytelling talents as both a mystery and adventure writer. His writing borders on the cusp of dark fiction, like several of his contemporaries like Arthur Machen and Clark Ashton Smith. If you are new to Robert Hichens, this collection may be a great place to discover his work. Stark House Press have also released more Hichens collections, including The Black Spaniel & Other Strange Stories and How Love Came to Professor Guildea and Other Uncanny Tales. 

Buy a copy of the book HERE.

The Kill

New York native Alan Ryan (1943-2011) graduated from Regis High School in Manhattan and from Fordham University in The Bronx. He was an English teacher, book reviewer, and later an editor. In his writing career, he produced at least five horror novels and three short-story collections. My first experience with his literary work is the novel The Kill, which was originally published in paperback by Tor in 1982. 

The book begins with a nine year old girl running away from home during a storm. Readers learn that she is on the outskirts of the small town of Deacon's Kill. Something grabs and jerks her head, creating instant death. Then, whoever or whatever killed the girl moves back into the forest. End scene. But, unfortunately the book continues. 

A couple named Megan and Jack work and live in Manhattan and are tiring of their hectic schedules. They are invited by a friend to visit a farm in Deacon's Kill, a sort of all-night party involving another 30 or 40 city yuppies. At the farm, a woman is murdered by this same unknown person or thing when she ventures too far into the forest to urinate. The murder (and urination) is caught on tape by a voyeur/party participant and presented to the local sheriff. The odd thing is that who, or whatever this thing is, was completely invisible. Like the book's plot. 

Megan and Jack, in their infinite wisdom, decide that this farm – which just hosted a murder by an invisible monster in the forest – is an ideal place for them to move to. WTF! They both quit their jobs and move into this ordinary run-of-the-mill farm house in the middle of nowhere. They befriend the sheriff and everything seems fantastic (read that as mundane and lifeless) for the next 250 pages of this horrific 294 page paperback. The couple make love, establish new businesses, have dinner with the sheriff and his wife, make friends with the town doctor, and engage in mindless, completely dull antics for a painful amount of pages. Just when my knuckles were white from anger, something finally happens. 

Apparently, the former owner of the farm dug up some old bones that resembled a prehistoric man. How the man is now alive, invisible, and is able to track all over the forest without anyone noticing isn't relevant, so no real explanation is offered (or I slept through it). Instead, you have the girl at the beginning of the book and the chick at the party as the only main victims while the sheriff watches endless loops of the VHS tape that captured the one piss/murder. The rest of the novel is just a complete waste of time and I wish I could erase it from the annals of time. 

If I'm locked in a room by a maniac and forced to watch endless Medicare commercials or read this book...brother pass the popcorn and crank the tube up. I'd do just about anything to avoid the literary nightmare of Alan Ryan's The Kill. So should you.

Buy a copy of this book HERE.

Suburban Gothic

Bryan Smith has authored more than thirty horror and crime novels. His novel 68 Kill was adapted to film and his 2009 novel Depraved became an instant cult classic, leading to three sequels. Brian Keene earned the 2014 World Horror Grandmaster Award, two Bram Stoker awards, and the Imadjinn Award for best fantasy novel in 2016. It was just a matter of time before the two friends collaborated on a novel. 

In 2009, Brian Keene authored a paperback for Leisure called Urban Gothic. The premise had a group of kids breaking into an old row house in Philadelphia that they thought was abandoned. Unfortunately for them, a family of inbred cannibals lived in the basement. The book was an obvious ode to “grindhouse” theater flicks like Hills Have Eyes and Texas Chainsaw Massacre. I enjoyed the book years ago, so I was intrigued to learn of the book's sequel, Suburban Gothic, published in 2020. But, the backstory on the novel doesn't stop there. 

It turns out that Suburban Gothic actually connects (retcons?) Keene's Urban Gothic with Bryan Smith's horror novel The Freakshow, which was originally published by Leisure in 2007. I also read that novel, and reviewed it HERE. In The Freakshow, cosmic entities are controlling humans from a netherworld. These entities combine mayhem, torture, cannibalism, rape, etc. into a sort of game which comes to a small town in Tennessee through a traveling carnival. The book was slightly above average and written in a perverse way that I typically find distasteful. I'm not a fan of Bryan Smith.

Suburban Gothic, which is authored by both Smith and Keene, has an early explanation that the inbred cannibals from Urban Gothic are forced to move to an abandoned mall located in a sketchy crime-ridden part of Philadelphia. At the same time, Smith's crazy supernaturally-controlled entities also move into the mall. One side is occupied by these mutant freaks (humans with arachnid-like appendages, multiple heads, etc.) while the other side is the weirdo cannibals. 

Like Urban Gothic, various people enter this abandoned mall for different reasons. These disposable characters include a group of urban explorers shooting YouTube footage, a real-estate agent, and your common everyday headbanging stoners. This is a problem for the book and it's readers. None of these characters are remotely interesting, and all of them are flawed and unlikable. So, when Smith writes nasty, violent deaths for each character (I'm sure he was tasked with their violent endings), I found myself simply skipping to the next death set-up. 

Brian Keene typically isn't an extreme splatter-horror guy, but Smith's participation drags this book into uncomfortable depravity. Characters are raped sodomized, eaten, beaten, forced into various amputations, dragged across multiple hard surfaces, shot, stabbed, and, in some cases, involuntarily placed into barbaric medical experiments. At a time in my life when I can turn on any social media news platform and see brutality and death, reading the intricate details of a fishing hook ripping an anus isn't really what I find enjoyable. 

If you love shock and awe, then by all means have a great time with Suburban Gothic. For me personally, this book is just an absolute mess mired in useless death, excess violence, and horrific gore. Take a hard pass on this kind of thing. Maybe it will eventually just go away. 

Pin

Andrew Niederman (b. 1940) is the author of over 125 novels under his own name and others. He ghostwrote a handful of novels as V.C. Andrews after the real lady died and his book The Devil’s Advocate was adapted into a movie starring Keanu Reeves. Pin was his fourth novel, originally published in 1981.

Pin is told as a first-person flashback by Leon looking back on his odd adolescent years with his sister, Ursula. As adolescents, they share an imaginary (?) friend named Pin who was always there with them. Pin is an elaborate, adult-size, anatomical medical dummy come to life. It’s clear that Pin has a lot in common with their dead father with the big differences being Pin’s translucent flesh where every vein, organ and capillary can be seen.

Leon and Ursula are orphans. Their wealthy parents die in a car accident and leave a considerable fortune to the teens who continue living in the same creaky mansion in New York’s Catskills Mountains with Pin, the chatty, erudite medical mannequin who may or may not be real. The threesome are rather isolated up in the mountains living off the dead parents’ inheritance.

We are treated to flashbacks of their dysfunctional upbringing and the siblings' unconventional attitudes towards sex and desire. The sexual exploration gets rather explicit, so consider yourself warned. If you know about the incestuous work of V.C. Andrews, the novel often reads like the author was auditioning for the ghost-writing job he landed later in his career. A plot begins to develop when Ursula finds a boyfriend, and Leon is not pleased. Neither is Pin.

This paperback is so weird but also so readable. Neiderman keeps the pages turning because the reader is dying to know if we are reading a supernatural horror book or a Vietnam-era gothic about siblings experiencing a shared delusion. There’s plenty of graphic sex along the way, and the compelling weirdness doesn’t lighten up until the novels striking conclusion.

Overall, Pin is an easy recommendation if you’re looking for something completely different. It’s not particularly scary, but you won’t be able to look away. 

Buy a copy of this book HERE.

The Switch House

Tim Meyer is a hotshot young horror author from the New Jersey Shore who has been appearing on a lot of “best-of” lists over the past few years. My first exposure to his work is his 2018 short novel, Switch House.

Angela and Terry are cast on a reality show called Let’s Switch Houses!, which is pretty much what it sounds like. Interestingly, the novel takes place when the couple returns to their own New Jersey house, which as been occupied for the past eight weeks by an unknown stranger. They only learn what was happening in their house in their absence when they sit together and watch the show along with the rest of America.

Even before the episodes broadcast, it’s clear to Angela that something is off in their own house. The place wasn’t frat-party trashed, but nothing feels right. Angela explains she feels like a stranger in a familiar house. The novel is mostly told through Angela‘s third-person perspective, and the author does some interesting tricks to showcase the fact that her perceptions are very different than her husband.

The bottom line is that a witchy lady was doing witchy stuff in their house while they were gone, and now this nice couple has to live in a haunted house. Meanwhile, their lives and family tragedies are being laid bare on reality television for the world to see.

Switch House is a combination of a haunted house story and a woman slipping into madness story. There are some cool plot twists I didn’t see coming, and some genuinely unnerving moments. Fans of paranoid, female-protagonist horror, along the lines of Ira Levin’s Rosemary’s Baby, and whiplash-inducing plot twists will really enjoy this short novel. Consider it a must-read for fans of contemporary horror fiction. 

Buy a copy of this book HERE.

The Drive-In (A B-Movie with Blood and Popcorn...)

Joe R. Lansdale (b. 1951) broke onto the scene in 1981 with a full-length serial killer police procedural called Act of Love. The aptly-titled novel lived up to its name, sparking a literary romance with readers for five decades. He's penned countless novels, series installments, graphic novels, adaptations, and edited numerous anthologies. His 1988 novel The Drive-In (A B-Movie with Blood and Popcorn, Made in Texas), published by Bantam, was nominated for a World Fantasy Award. A friend and blog reader let me borrow the paperback and advised that it was a really fun read. So, I just had to try it out.

The novel is set in a small-town in rural Texas. It's Friday evening, and a giant drive-in movie theater called The Orbit is playing six movies as part of its “The All-Night Horror Show”. Protagonist Jack, who presents the story in first-person, is with a sort of “losers club” that shows up for the night's festivities. But, somewhere in the middle of movies like Texas Chainsaw Massacre and The Toolbox Murders, a weird anomaly – call it a comet or alien spacecraft – swoops down and literally covers everything surrounding the drive-in parking lot with a weird flesh-eating black goop. In essence, it is sort of like a slimy alien fence containing just the drive-in theater. Everything else is just lost in the blackness. 

Like most survival horror novels (many which borrow from this very book), the book descends into a fight for survival as the theater's audience find themselves cut-off from civilization. With only a concession stand for food – free popcorn and soda while supplies last – and a lone bathroom, needless to say that humanity quickly shows it's darker self. As the days go on, mob violence takes control with rapes, beatings, shootings (it is Texas), and various factions forming. Jack sides with The Christians until he realizes they have a secret, savage way of surviving the violence. But, things get even more bizarre, deadly, and insane when Jack's two friends become struck by some sort of alien lightning that turns them into demonic cannibals that can do some really far-out stuff. 

The Drive-In is a horrific fantasy with science-fiction elements that bring to mind all of the B-movie black and white classics from the mid-20th century. That's the idea, and Lansdale absolutely nails it. His combination of humor – unintentional or not – sets a framework for these characters to behave in outrageous ways. Aside from the sky-level fun, one could read some subtext about the drive-in movie theater disappearing by the late 80s, replaced by shopping mall caverns and standalone brick-and-mortars that didn't exude the same sort of late night, backseat enjoyment. Additionally, it could show the sharp contrast of the old B-movies compared to the graphic, more mature movies that were being released in the grindhouse 70s and 80s formula. Sort of an invasion from nowhere of a barbaric savagery that far surpassed the practical “safe” effects of black and white Hollywood. 

Two more books in the Drive-In series were published, The Drive-In 2: Not Just One of Them Sequels (1989) and The Drive-In: The Bus Tour. Additionally, all three books are published as an omnibus titled The Complete Drive-In. 

Buy a copy of this book HERE.