Mansion of Evil

By the middle of the 20th century, publishers began experimenting with their consumers by offering different formats for books. Instead of relying on a slim comic book, the idea of a "graphic novel" developed. The idea was to offer more text and story, essentially creating a longer comic book narrative. These new graphic novels wouldn't possess the standard internal advertisements and predominantly were one-shots. They weren't necessarily part of a long, continuous series. With this new marketing, the dominant paperback publisher of the time decided to test the waters.

In 1950, Fawcett Gold Medal published their one and only graphic novel, Mansion of Evil. This 129th Gold Medal paperback was authored by Joseph Millard, a talented writer who wrote science-fiction, mystery, and westerns. His most popular literary work was the Man with No Name, an eight book series of westerns based on the three Spaghetti westerns starring Clint Eastwood.

In a clear tribute to author Brett Halliday (real name Davis Dresser), Millard's protagonist in Mansion of Evil is Beth Halliday. She works as an exhibitor at Melton's Art Gallery. Her fiance is a high-profile reporter named Larry Brennan. Beth's most recent art auction is the work of a notable painter named Maxwell Haimes. The artist stays out of the spotlight and remains secretive to many of his closest associates.

When Beth and Haimes are introduced, Haimes becomes excitable and slightly unstable. He advises Beth that she resembles his former wife. Additionally, he explains that his former wife, who was accused as a gold digger, was run off by his agent, leaving him heartbroken. A large portrait painting of her is left unfinished, but due to the remarkable resemblance Beth has to his wife, he can use her as a model to finish this masterpiece. 

In a fast-paced sequence of events, Haimes grabs Beth and promises to pay her $500 if she will quickly accompany him to his studio to finish the painting. Beth accepts the proposal, but becomes frightened when Haimes advises that she will be gone a few days and that she can't return to her apartment to pack any of her belongings. Escalating the fear, Haimes drives Beth to a mansion in the country - a mansion that he claims no one knows he owns.

Millard's mystery novel is a combination of suspense and horror with an overlapping central question - who is Laura? Readers are teased throughout the narrative as Haimes continues to refer to Beth as "Laura". Soon, Beth is spiraling into a sea of chaos as Haimes promises two associates that he will be throwing Beth down a massive staircase to prove her death was an accident. When a nurse sedates her, Beth realizes she's about to die in this mansion of evil. 

Millard's problem is that he doesn't provide enough information to keep the reader hooked. He ends each chapter with some captivating event that suggests all will be revealed in the next chapter. But, Millard hesitates to offer any answers to so many puzzling questions. It's written as though readers are waiting a full month before the next issue. Instead, it's just a page turn to the next chapter. I'm not sure why the story was structured this way or the reason why Millard leaves the carrot dangling for so long. By the time everything is revealed, I had lost all vested interest.

If you love mysteries where readers are totally baffled by the events for two-thirds of the book, then Mansion of Evil will please you. I needed something more to keep the pages turning. Instead of answers, there were just more questions. No thanks. You can read this book for free HERE.

The Institute

Master storyteller Stephen King has honed in on a horror sub-genre – kids with psychic abilities on the run from a shadowy organization. He first utilized the concept with 1981's Firestarter, featuring telepath Charlene McGee on the run from a government agency called The Shop. His novel Doctor Sleep features an organization called True Knot hunting down kids and adults with “the shining.” King serves this platter with his 2019 novel The Institute. It was published by Scribner and exists in multiple formats. Based on King's prior works, I would imagine a streaming show, graphic novel series, or the movie is already in the works.

My paperback version weighs in at 650 pages, so there's a lot to unpack. The novel's first 50 pages is like the first act of a 1950s crime-noir (or John Ball's Tallon series) as readers are introduced to the former Florida police officer Tim Jamieson. Tim is paid to relinquish his seat on a commercial airliner to make room for a government employee. After deciding to pocket the refund and extra money, Tim hitchhikes up I-95 from Florida to New York. But, he ends up in the cozy town of Du Pray, South Carolina and immediately falls in love with its Mayberry-like charm. He takes a night security post with the small, local police department and slowly becomes ingrained into Du Pray's lovable population. He then disappears from the narrative for the next 400 pages.

Protagonist Luke Ellis is introduced as a likable 12-year old genius that possesses telekinetic abilities. In the middle of the night, masked individuals break into Luke's Minneapolis home and kill his parents. The intruders drug Luke and he awakens in The Institute, a secret facility in a rural stretch of Maine forest. He quickly meets other kidnapped children, who form a sort of “loser's club” to overcome their scary predicament. The children earn tokens for being good, which they can use to purchase extra goodies like alcohol, marijuana, and cigarettes. The staff is led by Mrs. Sigsby, who oversees experiments on the children to heighten their telekinetic powers.

The book's first half focuses on Luke and his friends stay in a section called the “Front Half”, a safer portion of the facility where the staff is mostly nice and the experiments aren't excessively painful. Luke is asked to stare at lights and dots while subjected to daily doses of injections. The torment of Front Half is that these kids don't know what became of their prior lives. Luke wonders what happened to his parents and what his role is with the institute. Sigsby motivates the kids by advising them they will wake up in their own homes with their memories erased of everything that transpired there. As time goes on, Luke's friends are individually chosen, against their will, to relocate to Back Half. It's here that he learns that the kids are subjected to horrific torture and most don't survive the ordeal. To avoid being taken to Back Half, Luke must escape the institute.

Needless to say, there's a lot more to the novel than simply imprisonment and escape. Luke befriends a staff member and she has her own backstory. The novel tiptoes to the grand reveal, which is the purpose and use of the institute. There's the inevitable meeting between Tim and Luke, and at that point King transforms the novel from horror to action-thriller. All of these elements build to a giant crescendo, but like King's historic flaw, the ending leaves a lot to be desired.

My biggest issue with King's modern work is that he injects plenty of commentary on the political landscape (of course he jabs Donald Trump) and has a lot to say about debt. There's a centerpiece about credit cards and revolving bills that plague our society. Why King feels as if he knows anything about the average American is beyond me. He is worth a half-billion, earns $20-million per year and has had the right to call himself a millionaire for 40+ years. It's this sort of thing that dampens The Institute.

For example, King says that Tim is paid just $100 per week to work for the police force. He also has Tim pay an Uber driver with physical cash that the airline provided to him as a refund. The real world doesn't work this way. It's as if King is so far removed from everyday life that his stories lose some plausibility. The Institute really didn't need the uneducated social commentary and the obvious disconnect removed me from some aspects of the story.

Nevertheless, I mostly liked The Institute and found Tim and Luke's story enthralling. King hasn't lost any of his storytelling abilities, but he has started to blur the lines between his abstract horror creations and all-out action-thrillers. If you can appreciate the modern day version of Stephen King, you'll love The Institute.

Get the book HERE

Conan - Savage Sword of Conan #01 (Curtis)

At one time, Curtis Magazines was Marvel Comics' distributor and an affiliated company. Under this imprint, Marvel launched a number of magazine formatted titles that weren't regulated by the Comics Code Authority. It was Marvel editor-in-chief Editor Stan Lee's vision to enter the black-and-white magazine market to compete with Warren Publishing, a company that had found success with more taboo themes (bare butts and breasts) in their Eerie, Creepy, and Vampirella titles. 

The first of the Curtis books was Savage Tales, published in May 1971 – complete with a John Buscema cover of Conan holding a severed human head. Publisher Martin Goodman (founder of Timely/Marvel) didn't want to publish these types of books and insisted that Savage Tales cease publication after just one issue. Goodman left Marvel in 1972, setting the stage for Roy Thomas and the company to revamp their magazine line, launching more Savage Tales issues in October 1973 as well as a Marvel Monster Group brand with titles like Tales of the Zombie, Dracula Lives!, and Monsters Unleashed. 

This brings us to the focus of this review, Conan the Cimmerian, which was created by author Robert E. Howard. When Savage Tales began republication in October 1973, the title's second issue through the fifth (1973-1974) all featured Conan stories and the character on the front page. Due to the success of the character in these books, and the Conan the Barbarian color comic that launched in 1970, the company decided that Conan's market worth supported his own magazine. 

The Savage Sword of Conan the Barbarian was launched in August 1974 and ran consistently until July 1995. There were 235 issues and one annual during the book's impressive 21 year run. The series, especially the early issues, have all been collected in massive trade and omnibus editions from Marvel, Dark Horse, and even Titan. While I don't condone scanned copies, you can easily find the entire run scanned for digital devices for a few bucks if you don't want to bend and turn your purchased paper collections. Additionally, I see the used magazines in comic shops and book stores for $5-$20 each. I'm just saying they are around if you want to read them. 

The Savage Sword of Conan #01 has a Boris Vallejo cover and features seven sections:

“Curse of the Undead-Man” - Roy Thomas/John Buscema and Pablo Marcos
“A Hyperborean Oath” - Roy Thomas
“Red Sonja” - Roy Thomas/Esteban Maroto/Neal Adams/Ernie Chua
“Conan's Women Warriors” - Fred Blosser
“The Birth of Blackmark” - Gil Kane
“An Atlantean in Aquilonia” - Glenn Lord
“The Frost Giant's Daughter” - Roy Thomas/Barry Smith

In addition, three pages of artwork - Alfred Alcala/Esteban Maroto/Roy Krenkel.

In "Curse of the Undead-Man", Roy Thomas freely adapts Robert E. Howard's horror story "Mistress of Death" into a Conan offering. The Cimmerian hero is in Zamora waiting to join "some teetotaling general's army" and finds a trio of painted ladies looking to party. He is encouraged to look for gold in the city (read that as stealing) and is ambushed by three mysterious robed figures. A moment later he is attacked again by four ruffians and Red Sonja comes to his aid. 

Sonja explains that earlier that day the King of Zamora ordered a public execution of a sorcerer named Costrano. After the death, Costrano's apprentices schemed a way to resurrect the sorcerer. Conan stumbles on the sorcerer's severed jeweled-finger in the alley and throws it on the ground. The finger makes its way to Costrano's corpse and he is resurrected by the power of the ring. 

Later, Conan and Red Sonja team to fight Costrano and rescue a young woman he is attempting to sacrifice on an altar. The story ends with some playful joking between the two heroes.

This was an average Conan story with the typical ingredients - sorcerers, thieves, and swordplay. I'm not familiar with Howard's story, so I can't compare the two. For these pages, I specifically enjoyed the darker inks on page seven and the facial expressions on page ten. The gatefold pages on 18-19 of Conan leaping at the enraged Costrano is absolutely beautiful and worth the price of admission.

"A Hyperborean Oath" serves as an introduction to the magazine courtesy of Roy Thomas. He explains that the magazine will mostly consist of comic adaptations of REH stories.

"Red Sonja" begins with a recap of the events from Conan the Barbarian #24 (1972). In that story, "The Song of Red Sonja", Sonja tricked "a northern barbarian" named Conan into helping her gain the Serpent-Tiara. However, the jewelry was transformed into a giant dragon-thing that forced the two to team together to defend themselves. 

In this "Red Sonja" story, the narrative continues as the she-devil returns the Serpent-Tiara to the man who hired her to retrieve it, King Ghannif of Pah-Dishah. However, instead of paying Sonja for the job, he imprisons here to be part of his harem. Through the story, Sonja initially tries to fight for her freedom, but eventually conceives a plan to seduce Ghannif. After killing the King, she fights to the death with his loyal follower, a swordsman named Trolus.

This was an entertaining story that featured far better illustrations by Maroto, Adams, and Chua of Red Sonja than Barry Smith's version. She looks much younger here and more athletic. Plus, Smith's weird silver chain mail is replaced with more of a swimsuit attire. This would be the same look that artist Frank Thorne would use in 1978. The fight scene was great and I loved the dialogue between the two warriors. It was an early dive into Red Sonja's character and her efforts to avoid killing Trolus. She attempts to convince him to do the right thing and understand a better future. But, these things always end in death. 

In "Conan's Women Warriors", Conan devotee Fred Blosser provides a written commentary on the various women that have appeared in Conan literature and the Conan the Barbarian comics. The article contains paragraphs on Valeria, Belit, Yasmina, Salome, and of course, Red Sonja. 

Gil Kane's Blackmark was originally published by Bantam in 1971 (S5871) as a 119-page graphic novel paperback. It was scripted by Archie Goodwin and sold for .75 cents at the time. Some consider it to be the first American graphic novel, but I think Fawcett Gold Medal's 1950 paperback Mansion of Evil earns that award. The publisher had a limited number of copies they produced to test the waters for a graphic novel paperback. The book failed to make a splash and was shelved. Its contents was formatted to stretch to magazine-size pages (basically three paperback pages on one magazine page) and made it into the Savage Sword of Conan. The first part appears in this issue.

The author explains that Earth was devastated by nuclear weapons years ago. A new Earth has been formed from the ashes consisting of wastelands sprinkled with nomads, gangs, and small kingdoms housing castles and farms. The wealthy have a power source that allows travel by boat. The poor are left to travel on foot, often contending with harsh elements and even harsher humans. There are also mutants, monsters, and telepathic beings in this new Earth. 

The story begins with a couple, Marnie and Zeph, traveling by horse and wagon across the precarious landscape of Demon Waste. When they stop for the night, Zeph leaves to find supplies and Marnie is left to her thoughts of being infertile and the possibility of motherhood escaping her. 

Out of the darkness two men ride up on horseback, one of which is a wounded leader named King Amarix. They explain to Marnie that Amarix had been cast out by his own people due to believing old science can make Earth live again. As Amarix lay dying by the firelight he psychically uploads all of his knowledge and thoughts into Marnie. He tells her that she can take the knowledge, and his money, and spread into the community in hopes for a better future. He also magically makes Marnie fertile again. 

Later, Zeph and Marnie make it to a farming town and have a child. But, Zeph realizes that Marnie was "cursed" by Amarix, a man he feels is nothing but a demonic witch. Zeph calls the baby Blackmark and this portion of the book ends. Next issue it continues with "Death and Destiny..."

I really enjoyed this portion of the book and loved the smaller panels of artwork. Gil Kane is a legend in the comic book world and his art never ceases to amaze me. The story is ripe with Christianity tones. Marnie is a Virgin Mary, being blessed by God (Amarix) to birth a Messiah that will save the world. The idea that Amarix was shunned by his own people is reminiscent of Israel's failure to obey God, casting him out in favor of endless idols and pagan worship. I'm anxious to see where the story goes from here.

Glenn Lord's "An Atlantean in Aquilonia" is an essay on Robert E. Howard's Kull. This is a great history on the character with an emphasis on Kull's influence on Conan's conception. I actually used a lot of this article in my review of King Kull and also the podcast episode dedicated to the character. You can listen HERE. 

The final story here is a reprinting of "The Frost Giant's Daughter" from Savage Tales #1. You can read my review of Howard's story HERE. This may be the most popular adaptation of the story in comic format. Barry Smith's pencils are just superb and perfectly illustrate the savageness of the fight on the icy tundra. The fight with Hymdul in the opening pages and the first up-close look at the Frost Giants on page 70 are real highlights of the entire issue. This is an iconic piece of Conan literature and the adaptation is awesome. I do have to say I love Cary Nord's art in the Dark Horse version as well. Both are fantastic.

There you have it. The first issue of The Savage Sword of Conan. The two original stories here were enjoyable, but the reprinting of the Blackmark and "The Frost Giant's Daughter" were real highlights. From a Conan collector's standpoint, additional written commentary from Glenn Lord on Kull and the conception of "The Phoenix on the Sword" was a great addition as well.

Next up is issue two featuring "Black Colossus", a King Kull story, more Blackmark, and a history of sword-and-sorcery by Lin Carter. See you there! 

Get a copy of the giant omnibus collecting these early issues HERE.

Haggard Chronicles #01 - Haggard

Many of Guyana-born, British author Christopher Nicole’s historic adventures take place in England’s Caribbean colonies in the 1700s and 1800s. His 1980 novel, Haggard, was a historical epic that launched a trilogy tracking the family of the Haggards, an English plantation family on Barbados in the West Indies. The novel is available on Kindle, but copies of the vintage paperback are plentiful if you know where to look.

Barbados became a British colony in 1625 and quickly became a plantation economy with the labor provided by imported African slaves. Slavery wasn’t outlawed by the Brits until 1833. When the novel begins in 1780, the Haggard plantation is staffed by hundreds of black slaves growing sugar cane, corn, rum and various grains.

Our protagonist is John Haggard who is the wealthiest planter in all Barbados after inheriting his father’s 150 year-old farm four years ago at age 23 coinciding with the premature death of his wife. He’s handsome and charismatic hero who is kind and respectful to his slaves (I know, I know) and adept with a sword and pistol.

There’s a category of humans in the novel (and history) called Indentured Servants who were basically white prisoners (thieves and such) forced into slavery for a ten-year period before being reintroduced into free society. As the novel opens, John hasn’t been laid in many years and makes the impulsive decision to buy himself an indentured bedmate for a couple bucks. He chooses a super-hot, feisty redhead named Emma straight off the penal boat from Virginia. Their sex scenes are pretty graphic and don’t always meet the modern standards of consent we practice today. Consider yourself warned.

Of course, the unlikely romance between Haggard and Emma is a large storyline in the novel. If you’ve seen the film, Pretty Woman, you pretty much know the beats. As starcrossed love stories goes, it’s a good, if uncomfortable, one.

But getting laid isn’t Haggard’s only preoccupation. Not far away in the newly-minted USA, there is a war of independence being waged against England. Haggard is having trouble guaranteeing the integrity of his ships holding the sugar en route to England as his shipments are being intercepted and diverted to Boston. Meanwhile, the French have been taking island after island in the Caribbean with an eye on Barbados. This causes tension between Haggard and other gentry on the island who want to take collective action to protect their interests while Haggard is more of a go-it-alone kinda guy. These would’ve been great storylines if the author had developed them more, but they fall by the wayside quickly.

Although he is technically British, Haggard has never been to England but plans a trip with Emma and a handful of his slaves in the novel’s second act. There are a lot of fun “fish out of water” scenes where Haggard is clueless about British high-society customs.

In England, Haggard is also confronted with the realities of slavery. You see, slavery has been outlawed in England, with the exception of the distant colonies, such as Barbados. Haggard showing up on British soil with his slaves in tow, becomes a major conflict of the novel with thought-provoking narratives rationalizing and condemning the practice.

Another thing to understand about this novel, is that the author could write his ass off. Some of the dialogue among characters was awestriking. The character of Haggard is a very nuanced guy. Sometimes he comes off like a total hero, and other times he comes off like a total dick. Just like real people. There’s lots of problematic teen sex, meaning sex with teens that would land someone in jail today. However, this behavior is clearly intended to be morally dubious.

The plotting is really all over the place. And that’s the problem. Interesting things happen, and then they move onto the next vignette from Haggard's fictional life. Haggard never really holds together as a well-crafted novel. The author worked so hard to craft a historical epic that he forgot to make it about something. There were so many excellent missed opportunities here, but unfortunately I can’t recommend it in good conscience. At least the American plantation novels knew what they were doing with their interracial titillation and violent slave uprisings. This one was just a well-crafted slog.

I love Christopher Nicole’s writing, so I’m not giving up on him. This one, however, is not his masterpiece. 

You can get this book and the other series installments HERE. 

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Chandler: Red Tide

James Steranko (b. 1938) could be considered a true Renaissance man. Early in his life he became a talented illusionist, magician and musician. By 1966, Steranko's comic book pursuits led to the iconic Stan Lee and Jack Kirby of Marvel Comics. He penciled and inked issues of Strange Tales, Nick Fury, Captain America, X-Men, etc. In 1969, Steranko began painting covers for paperbacks and pulps, including Wildcat O' Shea and The Shadow. 

In 1976, Steranko's love of crime-noir and pulp-fiction led to a graphic novel called Chandler: Red Tide. Steranko penciled, inked and authored the book in a very specific format. Each page features 26 lines of text with two panels of art above each page. This is not to be confused with a standard graphic novel or comic because there are no dialogue bubbles. For all purposes, this is a unique novel with accompanying artwork, similar to a vintage pulp magazine. 

Set in the 1940s, Chandler explains to readers that he was originally a professional boxer. After a knockout defeat, Chandler stopped boxing and fought in the Mexican Revolution, became an arms dealer and eventually moved to New York City to become a skip tracer for a bail bondsman. Later, he became a special investigator for the District Attorney's office. When the new administration arrived, he was bounced. Now, he works on 47th as a private-detective, complete with a sexy secretary, long coat, and a Colt. 45.

An older gentleman named Todd approaches Chandler about finding a murderer. Todd explains that he was a guest on a yacht off of New York Harbor when a gangland slaying took place. Unfortunately, he was one of a handful of witnesses that saw the gunman. Now, the witnesses are being killed off and Todd is next. Chandler can’t protect Todd because his murder has already happened. Todd was poisoned, and, according to medical professionals, has 72-hours to live. Nearing his demise, Todd offers Chandler a stack of bills to find his murderer before he dies.

Chandler is a glorious nod to the early, hardboiled private-eye stories and novels. The hero's name is a tribute to Raymond Chandler, but the book's most striking resemblances are Dashiell Hammett's Continental Op and Carol John Daly's Race Williams. Chandler possesses all of the genre tropes: sleuth, big appetite, attractive, fighter. He is quick with a gun, smooth with the ladies and uses a lot of stealth and intuition to locate clues.

On a frenzied, shortened timeframe, Chandler paws through leads and interviews various people connected to the ship. The cold trail eventually leads to an old flame named Ann. Chandler rekindles a spark with her, but begins to suspect Ann's motives and network of associates. 

With intense gunplay, sexiness and a bold hero, the narrative moves quickly through New York’s brightly lit streets. The vivid artwork panels purposefully align with each page's dialogue and scene, enhancing what was already a rock-solid and compelling story. 

Unfortunately, as remarkable as Chandler is, it didn't meet sales expectations. A planned story-arc for Penthouse never came to fruition and Chandler was shuffled into forgotten history. If you can get your hands on this masterpiece, pay whatever the asking price is. Steranko’s Chandler kicks total ass. Buy a copy of this book HERE

Paperback Warrior Primer - Day Keene

Along with the likes of Gil Brewer, Talmage Powell, Charles Williams, and Lionel White, Day Keene is considered a staple of mid-20th century crime-fiction literature. Keene was one of the most prolific authors of that era and authored a slew of paperback originals during the 1950s and 1960s. His body of work is still respected today, evident with the number of reprint houses clamoring for his estate or orphaned novels. In this Paperback Warrior Primer, we are presenting an overview of his life and career:

Day Keene's parents arrived in the U.S. as immigrants from Sweden. Gunart Hjerstedt was born shortly after in Chicago in 1903. Hjerstedt would later use a modified version of his mother's maiden name of Daisy Keeney to establish his legal name as Day Keene.

Keene became a traveling stage actor in the 1920s, performing under the names of Keene and his Hjerstedt name. His notable role was Rosencranz in a traveling production of William Shakespeare's Hamlet. In 1931, Keene was living in New York and sold his first story to the pulp magazines. His first sales were to Detective Fiction Weekly and West magazine. He returned to Chicago later in the 1930s and started writing for radio shows, including Little Orphan Annie and Kitty Keene, Inc., a program about a female private detective that first aired on CBS and later the Mutual Radio Network from 1937-1941. 

In 1938, Keene relocated from Chicago to St. Petersburg, Florida with his second wife, Irene, who had been a Chicago school teacher. For a while, Keene attempted writing radio scripts remotely, but eventually shifted all of his creative energy to penning stories for the pulp magazines. Keene's writing slowed for a time in 1942 when he enlisted in the U.S. Army in Pinellas County, Florida.  

During his pulp fiction era of 1940 to 1952, Keene authored 250 published short stories. He sold another 16 short stories to the digests after the pulp magazines died off in the 1950s. He used the pseudonym John Corbett for stories when there was already a Day Keene story appearing in the issue. Ramble House has a number of Day Keene's short stories compiled into trade paperbacks. You can get them HERE. In the late 1940s, Keene relocated to Los Angeles and subsequently bounced between there and St. Petersburg. 

The birth of the paperback original was a catalyst for Keene to switch from short stories to full-length novels. Keene's first novel, Framed in Guilt, originally released as a hardcover - but then quickly re-released as a paperback from Graphic Books. As an aside, Framed in Guilt was released in Great Britain under the title Evidence Most Blind and remains in print today from Stark House Press. In 1951, Keene collaborated with Gil Brewer to write the published novel Love Me and Die. 

The recycling and expansion of short stories into full novels was common during that time. Keene sold a story called “She Shall Make Murder” to Detective Tales in November 1949. That became the basis for the Keene novel, Joy House, that was written in 1952, rejected by multiple publishing houses, and finally published in 1954 by Lion Books. The novel has also been reprinted by Stark House Press and remains available today. The editor of the novel at Lion Books was none other than Arnold Hano, and our review of that book is HERE. His story "Wait for the Dead Man's Tide" was featured in the August 1949 issue of Dime Mystery. It was later re-worked into the novel Dead Man's Tide, which was reprinted by Stark House Press.

Early in his career as a writer, Keene signed on with a literary agent named Donald MacCampbell, who also represented a fellow St. Petersburg, Florida author named Harry Whittington. Keene and Whittington became lifelong friends and socialized in the same Florida writing clique as Gil Brewer and Talmage Powell. Using MacCampbell, Keene's novels were first offered to Fawcett Gold Medal, who had right of first refusal. If they declined the novel, it would be shuffled down the hierarchy to other publishers like Lion, Ace, Avon, Pyramid, and Graphic Books. In the 1960s, Keene switched from shorter crime-fiction novels to denser, more mainstream novels like L.A. 46 and Chicago 11.

Keene died in North Hollywood, California on January 9, 1969. 

In his life he wrote about 50 novels, over 250 short stories, and 1500 radio scripts. Thanks to reprint houses like Stark House Press, Armchair Fiction, and Wildside Press, many of his greatest hits are still available today.

You can read all of our reviews of Day Keene's novels, including our podcast feature, HERE. For further reading, we recommend Cullen Gallagher at Pulp Serenade. Gallagher wrote an excellent introduction called "Run for Your Life: Day Keene's Wrong Men" for a Stark House Press reprint, which was the source material for this Primer.

The Fog

British author James Herbert (1953-2013) was the director of an advertising agency before striking it big as a horror author around the time Stephen King was doing the same thing accross the Atlantic. Herbert’s first novel, 1974's The Rats, began a successful 23-novel career with worldwide sales exceeding 50 million copies. I’ve heard great things about Herbert and decided to start with his second book, 1975’s The Fog.

The novel begins in the quiet English village of Wiltshire where nothing much ever seems to change. Our hero is John Holman, a government environmental crimes investigator. While investigating misuse of defense department land, he stumbles upon Wiltshire as an earthquake strikes. The rumbling opens a giant fissure in Main Street swallowing shops and several citizens along with it. This is followed by some exciting disaster-movie sequences where Holman rescues a child before she plunges to her death into the earthly abyss.

Herbert doesn’t waste any time with drawn-out character development. Immediately following the earthquake, a thick yellow cloud of fog begins to rise from the new crack in the earth. The menacing vapor appears to be sentient with tendrils reaching toward intended victims who are driven insane as they are enveloped by the fog.

Like the Coronavirus, the fog infects different people in different ways. Some become axe murderers while others urinate all over their neighbors. There’s also a good bit of genital trauma for the reader’s enjoyment, if not always the characters. These varied effects are presented in several action-packed, violent vignettes resembling individual short stories throughout the novel. The big question: Are the effects of the gas permanent or will the afflicted return to normal? Secondary question: Is the fog somehow related to experiments taking place on the nearby military base?

For a horror novel, The Fog isn’t particularly scary, but it’s an excellent action novel with plenty of violent surprises. It reminded me of an environmental disaster story, a medical thriller, and a high-adventure rescue mission. Other sections recalled a modern zombie adventure or even my favorite Able Team installment, Army of Devils by G.H. Frost. There were also several gratuitous and graphic sex scenes, if that’s your bag.

Overall, The Fog was an outstanding page-turner. The plotting was fast-moving and never dull, and the dilemmas encountered by the heroes were approached rationally. There was plenty of violence and gore to please any action-minded reader. Highly recommended.

Fun Fact:

The 1980 John Carpenter movie, The Fog, was unrelated to the James Herbert novel. Many of Herbert’s novels were adapted into films, but The Fog exists only on the written page and your beloved Kindle device. 

Buy a copy of this book HERE

Halloween - The Scream Factory

The Halloween film franchise has been going strong for nearly a half-century. Who knew that a babysitter killer could spark so much interest from fans while simultaneously creating enough timelines and multiverses to compete with Marvel Comics. Depending on your level of fandom, you are just casually watching Michael Myers stalk his prey through 11 films (Halloween III doesn't count) or piecing together the various movies into separate timelines. For me personally, this is my favorite horror franchise and I watch the films religiously. In my mind, I've organized them all into various categories and timelines, but I've never bothered with the novels. 

In paperback format, there are novelizations for seven Halloween films and at least one fan-fiction novelization (Halloween 5 by Jake Martin). However, besides the novelizations, Berkley published three original paperbacks in the late 1990s – The Scream Factory (1997), The Old Myers Place (1997), and The Mad House (1998). These three novels, averaging 150 pages, were catered for young adults and featured Michael Myers doing what he does best – hunting teens in Haddonfield, IL. The books were authored by Kelly 'O Rourke (aka Kelly Reno) and aren't related to each other. These are stand-alone stories. This review is for The Scream Factory, the first of the three paperbacks. 

Ultimately, this novel only references events in the 1978 Halloween film. There is a mention of a body count, but it isn't correct. The book ignores any sequels, which makes it much easier to simply enjoy as a stand-alone horror novel. The knowledge that the Halloween film ended with Michael Myers being shot by his doctor and then disappearing is the only prerequisite needed. 

It's now 1997 and the small town of Haddonfield talks about Michael Myers as if he is an urban myth. The town's youth mostly designates the killer as a thing of legend, nothing more, nothing less. Myers hasn't been seen since 1978. High school student Lori Parker collaborates with her friend Sally to throw a large Halloween party in the basement of Haddonfield City Hall. The party, aptly titled The Scream Factory, will be a gathering of high school students and a local band (fronted by Lori's romantic interest). 

The events prior to the party leads to Myers appearance. In a series of murders, Myers begins killing some of Lori's friends and members of the town's staff. Myers is described as being covered in mud and having dirty hair, which brought to mind the imagery of “homeless” Myers in Rob Zombie's Halloween remake. Myers also does some things that are more in line with Jason Voorhees (Friday the 13th), showing supernatural strength by dragging a large tree across a highway. But, at other times he is calling Lori on the phone and making bizarre noises or placing jack 'o lanterns at various locations (with a knife). Rather odd behavior that seems to contrast with the movie versions.

The Scream Factory isn't great, nor is it scary. But, I will state for the record that this is more of an “adult” horror novel than young adult in terms of savage violence and some gore. I'm not completely convinced this is a young adult book despite the clownish cover art. If you just have to consume everything Michael Myers, then by all means read this. Otherwise, just stick to the films, novelizations, and the occasional graphic novel.

Buy a copy of this book HERE.

The Continental Op (with illustrations by John K. Snyder III)

There have been countless reprints of stories starring Dashiell Hammett’s iconic and groundbreaking hardboiled private detective, The Continental Op. However, the recent collection of the first five-stories in the series from Clover Press is something special due to the addition of illustrations from John K. Snyder III that supplement Hammett’s prose.

Snyder is an accomplished comic book artist who recently resurrected and reimagined Lawrence Block’s Eight Million Ways to Die as a graphic novel to critical and fan acclaim. Snyder’s beautiful, full-page illustrations make Hammett’s prose come alive in this slim collection. To be clear, this Continental Op compilation is not a graphic novel or comic book, but rather a collection of five stories with Snyder illustrations sprinkled throughout.

The five stories were originally published in Black Mask Magazine throughout 1923, but they remain fresh and violent stories of mystery and suspense a century later. The Thin Man and The Maltese Falcon are the works that come to mind when the public hears Hammett’s name. But for my money, the nameless detective from the San Francisco office of the Continental Detective Agency was his best hero and starred in his strongest works.

“Arson Plus”

The first Continental Op story was originally written under the pseudonym of Peter Collinson, and it involves the investigation of a rural fire that flattened a house down to ash. The homeowner was consumed in the blaze while his servants evacuated safely.

It’s a pretty straightforward mystery story with the Op and his partner interviewing suspects who may or may not know anything about the blaze that killed the homeowner until a solution becomes apparent. As the first Continental Op story, it’s clear that Hammett was still trying to find the character’s voice. It’s more of an interesting historical artifact than essential hardboiled reading.

“Crooked Souls”

The adult daughter of a lumber company CEO has been kidnapped and the Continental Detective Agency is hired to find the girl and supplement the efforts of the police. A $50,000 ransom demand provides the Op a chance to lure the bad guys from the shadows, but the client is too bullheaded to pay.

Now, this is a story! We have action and violence with a twist. Don’t sleep on this one. Hammett finds his Continental Op footing here.

“Slippery Fingers”

A wealthy man is stabbed in the throat, and his son wants the Continental Detective Agency to handle the case as the police have failed thus far. The Op figures that the motive was financial and puts some forensic accounting types on the task of going through the dead man’s books.

Another straightforward mystery yarn with a clever solution involving a mysterious set of fingerprints. This one is completely worth reading, despite the lack of gunplay action.

“It”

Sometimes you’ll see this story collected under the title of “The Black Hat That Wasn’t There.” The case involves $100,000 in Liberty Bonds missing from a locked safe of the Golden Gate Trust Company. Meanwhile, there’s a partner in the trust company with access to the bonds who has disappeared. Should be easy: find the partner, find the bonds, right?

The Op follows leads that winds him up in an awesome cat and mouse game within a dark room - two men, one gun. All of this leads to a satisfying and tidy conclusion. Another winner for Hammett.

“Bodies Piled Up”

After a hotel detective is fired for drunkenness, the Continental Op is assigned to fill in for the hotel dick for three days as a temp. On the last day of the assignment, the Op responds to a room housing three murdered hotel guests. All three men had wallets full of cash, so what could the motive be?

The Op and his men run down logical leads until a solution presents itself. Another decent mystery, but not much action - I was still coming off the high from the previous story.

——————-

Overall, this is a superb collection of stories to get you started in the world of the The Continental Op. If you’re also into hardboiled art by one of America’s finest illustrators, you’ll do well to choose this volume with the Snyder paintings over all the others. Recommended.

Bodies Are Dust (aka: Hell Cop)

Bodies Are Dust (aka: Hell Cop) is a nasty little crime noir novel from 1931 that’s been out-of-print for over 60 years. A new imprint called Staccato Crime (a division of Stark House) has resurrected the collectible rarity by the pharmacist-turned-author-turned-screenwriter Pincus Jacob Wolfson (1903-1979) for a 2021 reprint. The book contains informative essays by Jeff Vorzimmer and David Rachels on the paperback's historical context.

Our narrator, Inspector Buck Saffiotte, is a big city police detective hooked on booze, babes, and graft. He’s a political animal who was hoping to be police commissioner until a recent election broke in an unexpected direction. For now, he’s running a station house in the city’s theater district, a neighborhood riddled with speakeasies and whorehouses. His partner is a Jewish cop he calls The Yid, and Saffiotte is emotionally abusive to his housekeeper. He forces her to serve him breakfast every morning along with whatever whore spent the previous night with him.

Saffiotte is a real sonofabitch, but he’s also our guide through this 200 pages of depravity - so you better learn to live with him. The unnamed city is a character unto itself, and it reminded me of the Frank Miller graphic novel (and movie) Sin City. It’s a rat-filled, fetid sore of a slum where Italian immigrants sell rotting vegetables on busted pushcarts. Wolfson’s descriptions are vivid and stay with you as the pages fly by.

In the novel’s opening half, we follow Saffiotte through a morass of characters involved with frauds, swindles, sex and graft. It was all very compelling, but nothing resembling a storyline develops until the paperback’s second half when our anti-hero gets involved with The Yid’s new wife. There’s also a fixed boxing match, a bank embezzling fugitive, and an old friend’s death to be avenged. It’s all rather compelling, but it still doesn’t equal much of a plot.

Overall, Bodies are Dust was a solid read considering it is a 1931 novel. For my money, I still prefer 1950s noir, but it’s fair to view this one as a hardboiled classic from an era when the genre was still finding its feet. 

Buy a copy of this book HERE

Reckless #01 - Reckless

Maryland native Ed Brubaker (b. 1966) is both an artist and comic writer. It would be difficult to browse any comic book store and not find a title written by him, or one to which he has at least made a contribution. Serial titles such as Captain America, Batman, Daredevil, X-Men and Sandman occupied Brubaker for more than thirty years. Beyond superheroes, Brubaker loves crime-fiction and what he describes as those painted cover paperbacks that his father liked to read. Due to his love of the crime-fiction genre, Brubaker teamed up with prolific U.K. artist Sean Phillips (Hellblazer, Judge Dredd) to write a number of awesome graphic novel titles like Sleeper and Criminal. One of their most recent collaboration is a graphic novel series called Reckless. I'm starting with Reckless Vol. 1., which was published in December of 2020 by Image.

The first thing you need to know is that Reckless was written for the 1970s and 1980s men's action-adventure and crime-fiction fans. If you love David Morrell, Robert B. Parker, Jon Messmann, and Lawrence Block, Reckless is for YOU. The basic premise is quite simple. Ethan Reckless is the lone hero who performs complicated tasks for money. It's not that different than the 1940s and 1950s private-eye books, but Reckless isn't a licensed detective and he is mostly working illegally. Reckless is similar to Lawrence Block's Matthew Scudder character in that regard. The icing on the cake is that these books are set in California in the early 1980s.

Ethan Reckless became an FBI agent in the early 1970s. In flashback scenes, Brubaker explains that Reckless was working undercover to infiltrate a group of Vietnam War protesters. Mostly these groups were peaceful, but this particular assembly is planning on bombing large portions of the city. When Reckless attempts to stop a bombing, he's caught in the blast. The explosion creates some facial scarring and Reckless loses portions of his memory. After that incident, Reckless eventually finds himself at odds with his fellow FBI colleagues. He eventually quit with three years of pension. Once that ran out, Reckless began solving problems for people. In the early days he describes his "office" as just him and his surfboard.

Fast-forward to Los Angeles in 1981 and Reckless now works out of an old abandoned theater. He has a phone number that people can call to report their problems. His female punk rock assistant handles the calls and offers Reckless the job selections. Reckless is shocked when Rainy advises him that someone on the phone is asking for Donovan Rush. This was his old undercover name when he was working the protest bombings. 

After obtaining a time and place, Reckless arrives at a roadside diner to find that his old flame Rainy is the one asking for him. She was one of the protesters that Reckless fell in love with prior to the explosion. She explains that she was involved in a bank robbery in 1974. The group stashed the money with a promise that they would all lie low for a few years until the heat died down. Once she was able to locate her partner, Rainy learned that the money is gone and he's now living a posh life in northern California. She wants Reckless to retrieve the $100,000 she's owed from the robbery.

Reckless is a stylish throwback to the books we read, review, and love here at Paperback Warrior. It's smack-dab right in our wheelhouse. This first volume is 150 pages and is just a well-written, action-packed narrative with plenty of twists and turns. The art is exceptional with plenty of violent details - this isn't for the squeamish. The bank heist is really just a small portion of the book, instead the storyline weaves in and out of the FBI investigation, CIA drug runners, a phenomenal origin, sex, and a gritty, Hell-bent revenge angle. If you've been reading Paperback Warrior reviews (or listening to the show), trust me when I tell you to read this book. You won't be disappointed.

Note - The second volume of the series is called Friend of the Devil and is set in Los Angeles in 1985. Like the first volume, there's retroactive storytelling from the 1960s and 1970s that play a prominent role in the 1985 job. The third book is called Destroy All Monsters and will be released in October of 2021. Get the book HERE

Kiss or Kill

Between 1950 and 1969, Louisiana native and WW2 veteran John Burton Thompson (1911-1994) authored and sold around 75 books. His paperbacks were considered to be so racy at the time that NYPD raided city bookstores and seized over a thousand copies of paperbacks written by him and others. Thereafter, much of his writing was done using pseudonyms to remain marketable to skittish booksellers. By today’s cultural standards, the sex in Thompson’s work wouldn’t raise an eyebrow, and Lee Goldberg’s new publishing imprint, Cutting Edge Books recently put that to the test by reintroducing Thompson’s 1962 paperback Kiss or Kill back into print.

Our narrator is Jack McKnight looking back on his adolescent years when he was raised by his evil mother and his wicked half brothers from his mom’s previous relationship. His mother and siblings are bitter that dad left half the estate to Jack, his only biological heir, before dad’s early demise. His teen years are filled with disdain from mom and savage beatings from the brothers.

Young Jack has an ally in his late father’s best friend, Mr. Palmer, who explains the birds and the bees to Jack and seems genuinely invested in the young man’s well-being. As Jack pursues a variety of romances while moving into adulthood, there’s a lot of great fatherly advice that Mr. Palmer bestows upon Jack about life and women. I can’t remember a more satisfying “young man and adult mentor” relationship in any book I’ve read in ages.

However, there’s an real air of menace lurking in the background of this paperback. Jack’s mother and half-brothers become increasingly unhinged, and Jack worries with good reason that they are plotting to murder him to take over his half of his father’s estate. The violence - real and threatened - escalates throughout the novel building to a bloodbath of a climax.

Kiss or Kill is a really odd book. There are scenes of shocking violence, but it’s not an action novel. There are hot scenes of seduction, but it never felt like a graphic sleaze novel. There are a few genuinely romantic storylines, but it’s certainly not a romance novel. And so on. It’s really a fictional autobiography of a compelling character overcoming a difficult upbringing and becoming a man. In that sense, it’s a very mainstream novel masquerading as a tawdry 50-cent paperback.

Although this is pretty far afield from the classic crime-adventure novels we normally cover here at Paperback Warrior, I can enthusiastically recommend Kiss or Kill to anyone who enjoys a good vintage coming-of-age tale. Thompson is a way better writer and storyteller than either iteration of the novel’s packaging would lead you to believe, and I look forward to exploring his body of work in greater depth. Recommended. 

Buy a copy of this book HERE

Traded Wives

Celebrated jazz musician and author Charles Boeckman authored crime-fiction short stories and novels using his own name through the mid 20th century. However, using the pseudonym of Alex Carter, he authored racy, sexually-charged romance paperbacks for publishing houses like Beacon. I've enjoyed his writing, especially his Alex Carter novel Boy-Lover (1963). I recently purchased another Carter novel, Traded Wives. The book was published in both the US and Canada simultaneously in 1964. The American version was published through Beacon (8711X, cover artist unknown). The Canadian version by Softcover Library (S95157) recycled Clement Micarelli's painting from Orrie Hitt's 1962 novel Love Thief.

The novel presents three couples and a single woman living in a new housing community called Garden Acres. Each of the couples is struggling in various ways that revolve around intimacy. Boeckman depicts each marriage through revolving chapters that explain each character's backstory, the evolution into marriage, and the physical wants, desires, and jealous rage within this sexual suburbia. 

Debbie and Bobby have just moved into Garden Acres after graduating from high school and becoming pregnant. Their parents are wealthy, respectable contributors to the community that can't afford any negative influences. They immediately force the two kids to become married and quickly convert the couple into expecting, stereotypical middle-class suburbanites. The problem is that Bobby is still running around with the town's young hotties and Debbie isn't thrilled to be settling down after bedding down the senior class's male students. That's a real problem.

Charles is an alcohol distributor and sales rep that travels the back roads of America selling booze. He smokes cigars, drives a Cadillac, and has a loud-mouth that mostly spews dirty jokes. After meeting backwoods country girl (and virgin) Barbara Lee, he talks her into marriage and they quickly move into  the thriving sexual landscape of Garden Acres. Barbara Lee wants to pursue a college education and learn more about the modern world. After conquering Barbara Lee, Charles sets his eyes on his neighbor Cheryl. 

Tony is a white-collar guy living the American dream – playing golf on the weekends, mowing green grass, and relaxing in the shade with his newlywed wife Cheryl. The problem is that Cheryl isn't into sex, thus creating a physical barrier between the two. Tony is sexually frustrated with Cheryl and she is equally angered with his insistence on intimacy. 

Boeckman was just such a great storyteller of these noir novels. Despite the titles and covers, these novels aren't any different from a Nora Roberts novel today. There are no graphic sex scenes or much (if any) profanity. In cinematic ratings, these are probably PG-13. But, that doesn't make them any less intriguing or enjoyable. 

The story-lines are detailed with plot and character development that's simply superb. The narrative thrusts these unhappy couples into a wild mix of sex, fantasy, and appeasement. Debbie with Tony and Bobby, Cheryl with Tony, Charles with Cheryl, and Bobby with a divorced, sexually starved woman named April. It's a mingling of affairs and it's fantastic. I also enjoyed the “crime-noir” aspect of Tony, Charles, and Cheryl's love-triangle. It becomes violent and engaging and is probably the real highlight of the novel. The end result is that Traded Wives is highly, highly recommended. 

Buy a copy of this book HERE

Wild Wives

Charles Willeford (1919-1988) was a heroic and decorated U.S. Army veteran who served in World War 2, and fought in the Battle of the Bulge. He continued with his military career after the war, and began writing in his free time while still enlisted. “Wild Wives” was released in 1956 and was his third published novel - originally packaged by Beacon Books as a double along with his 1953 debut, “High Priest of California.” Over the past 63 years, “Wild Wives” has been reprinted several times and is available today as a one-dollar eBook.

The short novel is a narrated by a low-rent San Francisco private eye named Jake Blake. His new client is Florence Weintraub, the voluptuous and promiscuous daughter of a prominent local architect. Daddy has hired a couple of goons to tail Florence and ensure she stays out of trouble. She hires Jake to help her shake the surveillance for a couple hours of unsupervised living. The prospect of a $25 daily fee is a payday too tasty for Jake to decline, so he accepts the gig.

While working the assignment, things abruptly shift gears from a remarkably-good private eye novel to a simply-amazing femme fatale noir story. If you read enough of these books, you learn the basic formula, but I never knew where this sexually-graphic story of action and violence was headed. In fact, I’m trying to remember the last crime novel I’ve read that was this awesome.

I recall reading “High Priest of California” years ago, and I’m comfortable saying that “Wild Wives” is a superior novel in every way. Willeford’s writing is excellent and it’s clear he was having a lot of fun with the tropes of the hardboiled detective genre (“She clung to me like jello in a molding tin.”). It’s difficult for me to recommend this short paperback with more enthusiasm than I already have. I wish I had enough dollars to buy the eBook for all Paperback Warrior readers and assign this to you as mandatory reading. For the love of all things holy, drop what you’re doing and read this novel. Highest recommendation. 

Buy a copy of this book HERE

Paperback Warrior Unmasking: Mantee

I like boxing stories. I like Plantation Gothics. As such, I was excited to read “Mantee” by Robert J. Hensler from 1969. Based on the cover blurb, it’s about a black slave who becomes a boxing champion. Mandingo meets Rocky! What’s not too like?

Then I saw this posting on the Internet from the author’s son, Eric:

“My father wrote this book. He’s not proud of it or the other pulp he cranked out in the sixties but it kept food on the table for our little family. Before you judge too harshly, remember that somebody had to demean themselves to write this in the first place. Just a quick note to give a glimpse behind the curtain...”

Wow.

At first this review/apology made me re-shelve the book. I read for entertainment and escapism, not to open the old wounds of a nice family’s shame. Upon further reflection, I needed to know if this book was something truly worth causing inter-generational embarrassment. Curiosity clawed at me every time I walked by my library. To be sure, plantation fiction was a salacious and tawdry sub-genre that leveraged America’s discomfort with topics like racism, inter-racial sex, and the repugnant stain of slavery on our nation’s past. However, I don’t think these books are racist. The slaves are almost always drawn in a sympathetic light, and their evil masters generally get their comeuppance in slave uprisings forming the novel’s climax.

I couldn’t find much info about the author, and my initial attempts to contact his son failed. I know Hensler wrote an innocuous-sounding book about Washington, D.C. during his career, but I was unable to identify any other pulp fiction bearing his name. None of the vintage fiction experts I consulted knew of the guy. If he wanted this chapter in his life to be forgotten, he’s done a fine job staying under the radar for the past 50 years.

Anyway, onto the plantation book:

“Mantee” takes place on Alabama’s 250 acre Rosebriar Plantation in 1859 - four long years before emancipation- where the slaves pick cotton and take whippings from the dysfunctional Darby family. The cast of characters is an array of stereotypes. Benson is the patriarch who rules his land with an iron fist. Evangeline is his compassionate abolitionist wife. Lance is the cruel heir who loves to order up whippings. Marlena is the horny daughter - physically excited watching the muscular black bodies suffer abuse.

On the slave side of the plantation, Mantee is the biggest, strongest, and most handsome of the indentured blacks on the property. The comely Marlena is hot-to-trot and fascinated by the idea that Mantee likely has an enormous dong. You can see where this is headed. There’s a whole mess of slaves who fill every archetype required by the genre, and Hessler wastes no words detailing the rape and torture of slaves in graphic detail. After awhile, these scenes became rather stomach-turning and I can only imagine that they served to pad the page count and thicken the paperback to a market-friendly length. The consensual and non-consensual sex scenes were extra pornographic and extra long - even compared to other plantation novels.

Accused of rape, Mantee becomes a runaway slave leaving his torturers behind. It is during his flight that he encounters a series of white saviors and eventually the sport of boxing. The fight scenes are absolutely fantastic and resemble early MMA in their brutality rather than the gloved Queensbury Rules we know today. Once the boxing story kicked in, the author really brings his A-game.

To be sure, “Mantee” is an imperfect novel. The author’s choice to write the dialog in a phonetic southern dialect wore thin pretty quickly. I would have also preferred more punches thrown and fewer girls deflowered along the way as the sex scenes became tiresome and repetitive. Nevertheless, the paperback never failed to hold my attention, and I mostly found myself enjoying Mantee’s adventures - vertical and horizontal. Plantation novels were written to be salacious, but these fictional dramatizations will inevitably bring readers greater empathy for the people forced to suffer through this shameful chapter of American history.

And that’s nothing to be embarrassed about.

After I completed the “Mantee” review above, I finally heard back from the author’s son, Eric Hensler. He reports that his dad is still around at age 86.

“Our family grew up everywhere. New York, California, Texas, New Mexico, Connecticut, and Florida,” Eric said. “Within those states, we lived in more cities than can be counted without aid from him which is, unfortunately, not to be had at this point.

The reason for all the moving around? “His primary career was in radio,” Eric explained . “He was, I suppose you might say, an itinerant DJ. Rarely staying at any one station for more than six months, full of a wanderlust insatiable. Or such was the case until the early 1970s. At that point, he attached himself to WSST in Largo, Florida and stayed for nearly 20 years. He rose through the ranks and for his second decade there, he was the general manager.”

“My father never held particular political positions or otherwise,” Eric said. “He was an experimental man and a pragmatic one at the same time. He wrote hippie-porn, plantation fiction, poetry, non-fiction and on and on it went. He has published well over 50 books but the difficulty lies in that he used many different pen names. So many, in fact, that I have done much hand-wringing in trying to compile a bibliography. He is still alive, but unfortunately, he has advanced dementia and is of little help in this regard.”

Eric pointed me in the direction of a 1977 Pocket Books novel titled “Washington, D.C.,” a title so generic that it’s hard to find much information about it. Eric explained that it was the only other work of fiction released using his real name. I did find a single online review of the book that described the novel as being about power, sex, and sixties-style revolutionaries who want to blow everything up but are too inept.

Eric explained that a lot of his dad’s books were published under pseudonyms, including “Robert Scott, R.J. Scott, Arjay Scott and so on.”

Bingo! This explains a lot.

There were a bunch of Bee-Line erotic novels written under the pen name of Arjay Scott that are clearly the work of Robert Hensler. They had lurid titles like “Circus of Flesh” and “Fornacation, Inc.” His novel “Diabolical Chain” features the tagline: “Hollywood Voluptuaries in an Orgy of Lust...and Blood!” Most of his Bee-Line porno books have non-descript covers with no art. However, his paperback “The Swapping Game” features an attractive photo cover with some decent graphic design.

My personal favorite of Hessler’s titles was “The 27-Foot Long Love Machine.” However, my enthusiasm was dampened when I learned that the Love Machine in question was a camper van. His erotic fiction work for Bee-Line explains the author’s comfort in writing long, graphic sex scenes in “Mantee.”

“All of the pulp of any ilk that he did publish was through his agent, a man who went by the name Jay Garon,” Eric said. “We heard his name and saw the checks all the time when I was a boy.” I learned that Garon, who died in 1995, represented several working authors of pulp fiction around that era, including Michael Avallone, author of the Ed Noon mystery series.

Eric has heard rumors that his mother may have a box of dusty old books from dad’s writing career. “I need simply to convince my mother to direct me to it. She, you see, is a devout Christian and wants nothing to do with them, but as he fades, she softens to anything to do with his life and history,” he said.

Like many senior citizens in his condition, Hensler has good days and bad days. Eric told his father about the upcoming Paperback Warrior feature, “I explained what was going on to my father and he smiled and said he would like to read it. He was clearly amused, at least for a few moments until slipping back into his unfortunate fog.”

Buy a copy of this book HERE