Sacketts #03 - The Warrior's Path

Famed frontier storyteller Louis L'Amour had a successful series of westerns starring various members of the Sackett family. While positioning most of these novels in the 1800s, L'Amour's later installments presented the family's early history. Beginning in 1974, L'Amour released Sackett's Land, chronologically the first Sackett story. Set between 1599-1620, the book introduces readers to Barnabas Sackett and his early exploration into America. Continuing Barnabas' story, To the Far Blue Mountains was released in 1976 and slowly transforms the series emphasis from Barnabas to his sons. In 1980, The Warrior's Path was released with the primary focus on Barnabas' sons Kin-Ring and Yance circa 1630.

The opening chapters find Kin-Ring and Yance in northeastern America. The two have been summoned by a small village to track the whereabouts of two young women. Fearing the girls were kidnapped by Indians, Kin-Ring pairs up with longtime allies, the Catawba tribe, to search for the missing girls. Surprisingly, Kin-Ring discovers that Indians weren't behind the girls' disappearance.

After a skirmish with Joseph Pittingel, the Sacketts learn that he is behind a robust slave-trading enterprise that focuses on kidnapping young white women and then selling them in the Caribbean islands. This portion of the narrative provides an opportunity for L'Amour to revisit the swashbuckling adventure aspect that made the prior books so much fun. After traveling to Jamaica, Kin-Ring embarks on a quest to not only retrieve the girls but to find the buyers. While using swords, knives and black powder, Kin-Ring bravely attempts to stop the slave-trading business at its source.

It is unfair to compare this novel to Sackett's Land or To the Far Blue Mountains. Lightning struck twice for L'Amour as both of those are some of the best literary works you'll find – of any genre. But, that winning formula doesn't quite carry over to The Warrior's Path. 

Kin-Ring is written with the same basic attributes as Barnabas...but something is just missing. I didn't quite grasp a firm connection with the character. Despite the book's sprawling locations, it didn't have the epic feel that the prior books conveyed so well. 

Nevertheless, this is an entertaining adventure novel and would probably be held in higher regard if not for the prior novels. I'm looking forward to reading the fourth and final novel of the Sacketts' early history, Jubal Sackett, in hopes that the author finally places the frontier action west of the Mississippi River. As a fan of wilderness survival tales, I'm hoping that book excels and makes up for my lukewarm reception to The Warrior's Path.

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Counterspy #01 - Apostles of Violence

Beginning in 1955, French author Maurice Gabriel Brault (1912-1984) began writing espionage novels under the pseudonym M.G. Braun starring French Secret Service Agent Al Glenne. The series was wildly popular and went on for around 75 installments over the next 24 years. Between 1962 and 1966, four books from the series were translated into English and released by Berkley as the Counterspy series. So, while 1962’s Apôtres De La Violence is the 25th installment in the French Al Glenne novels, Apostles of Violence is #1 in the English language Counterspy series.

As the novel opens, our hero and narrator, Al Glenne, is in Caracas, Venezuela visiting another French special agent named Theo who is stationed there with sexy Latinas serving his every need. However, this is no vacation. A satellite equipped with a deadly laser weapon belonging to either the Americans or the Russians (the French aren’t certain) has crashed in the Venezuelan jungle. Al and Theo need to recover the space weapon before it falls into the wrong hands. Theo sent for Al because if his experience in jungle fighting, and also because Al is the star of the book series.

Theo explains to Al (and the reader) that it’s important for France to find out whether the satellite belongs to the Americans or Russians. Meanwhile, French scientists are 15 years behind in the field of laser technology. If Al and Theo can bring back the laser, the French will be able to catch up within a few short months. The presumption is that the Americans, the Russians, and the Brits are all aware of the fallen satellite’s location, and the race is on to find it first.

After reading a lot of American and British spy novels, it’s interesting to read one in which the hero is looking after the self-interest of a completely other country. The French team of Al and Theo parachute into the jungle, find the
satellite crash site, and begin their dangerous journey back to safety. The gunfire in the distance gives them no sense of comfort that it’s going to be a simple trip. Even scarier, are the Venezuelan Indians living in the woods shooting arrows at everything that moves.

As you might expect, the French team encounters a voluptuous Brazilian girl to be their guide through the jungle to the crash site. As they encounter teams from other countries, it’s the Americans who behave like aggressive jackasses. This may bother some American readers, but I found it very interesting and allowed for the idea that not every American behaves in a righteous and honorable manner at all times. As the multi-national group begins being murdered one-by-one, it’s up to Al to get to the bottom of the situation, so he’ll be alive to star in future series installments.

American readers will be tempted to compare Counterpsy to another long-running, popular French series with limited English paperback reprints: the Malko books by Gerard de Villiers. While Malko books are more cloak and dagger espionage adventures, Braun’s Apostles of Violence is a much simpler jungle combat story with a genuine mystery woven into the plot. The Counterspy books are narrated by Al Glenne, and that first person combat-based mission recalled Peter McCurtin’s Soldier of Fortune series. I’d also favorably compare the series to Edward Aarons’ Assignment series starring Sam Durrell.

At 143 big-font pages, Apostles of Violence wasn’t a heavy lift. It was an action-packed, very straightforward, and linear paperback with very little character development or emotional flab. The translation was so smooth that you’d never know it was originally written in French. The heroes were plenty heroic and the villains were heels, and the novel was a lot of fun to read. Best of all, the paperback had a killer twist ending that no one will ever see coming. Overall, I liked it quite a bit, I intend to acquire and read the three other English reprints in the series. Recommended.

Fun Fact:

The English translations of the Counterspy novels are credited to Ralph Hackett, but this is a pseudonym for the real translator, Lowell Blair. In the middle of the 20th century, Blair was a busy guy translating important works of French literature into English, including The Count of Monte Cristo and The Hunchback of Notre Dame. I’m guessing that he regarded the Counterspy paperbacks as beneath his austere talents, so he performed the translation under a fake name? The actual rationale for this decision is a secret lost to the ages.

Acknowledgment

Thanks to the always excellent Spy Guys and Gals website for providing the background on this series.

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The Key

The fiction of Cleve Adams (1895-1949) first appeared in pulp magazines like Double Detective and Detective Fiction Weekly. Beginning in 1940, Adams launched a seven-book series of private-eye novels starring Rex McBride. He also authored two novels starring private-eye John Shannon as well as a two-book series of mysteries starring Bill Rye (published under the pseudonym John Spain). The author also wrote a handful of stand-alone, hardboiled crime novels and a number of short stories. One of those, "The Key", was featured in the July 1940 issue of Black Mask and collected in the 2010 collection The Black Lizard Big Book of Black Mask Stories.

"The Key" stars Canavan, a tough-as-nails police lieutenant working the beat in Los Angeles. After bringing a thug into Night Court, Canavan spots an attractive young woman named Hope who seemingly doesn't belong with the night's typical lot of thieves, prostitutes and miscreants. After paying her $8 fine for skipping out of a restaurant tab, Canavan offers to drive Hope back to the hotel where she resides. It's on this drive that Hope confesses to Canavan that she was to meet a man at the diner but he didn't show. Her belongings were apparently stolen from her room, including her meal money. Canavan, feeling pity for the young woman, escorts her to her hotel room only to awaken a few hours later with a knot on his head, his wallet missing and Hope nowhere to be found. Literally.

Canavan believes Hope is attached to something other than just petty theft. After chasing her trail, the police lieutenant runs into a Syndicate goon named Kolinski who may be behind the murder of Hope's brother. After learning that Hope may be on the run from her brother's killer, Canavan defies the law and finds himself as a wanted fugitive. In attempting to find Hope, Canavan hopes to prove his innocence as the corpses pile up.

This was a rather odd whodunit with a number of nonsensical scenes involving Canavan searching for clues. There's Kolinksi's racket of running a protection association for morticians begging them question: were mortuaries frequently robbed and vandalized in the 1940s? The idea of a “key to solve the murder” is an old genre trope that even feels over utilized for the time period. At six chapters, the novella moves briskly and Canavan is a believable hero. Everything else wasn't. Overall, "The Key" was an enjoyable albeit average mystery that left me curious to read more of Cleve Adams' literary work.

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Spenser #03 - Mortal Stakes

Robert B. Parker authored a whopping 40 installments of his Spenser series of private-eye novels. The series was adapted for television in 1985 and consisted of 66 total episodes starring Robert Ulrich as the satirical Boston detective. In 1999, Joe Mantegna played the character in three made-for-television films. In 2020, Netflix released a film version entitled Spenser Confidential. It was based loosely on the 2010 novel written by Ace Atkins, an author that Parker's estate hired to continue the Spenser series. The character was portrayed by Mark Wahlberg, a baffling choice largely panned by critics. After enjoying the series debut, The Godwulf Manuscript (1973), and its follow-up God Save the Child (1974), I just knew that the series third installment, Mortal Stakes (1975), would be another fantastic entry.

In Mortal Stakes, the general manager of a fictional Boston Red Sox team, Erskine, hires Spenser to investigate their star pitcher Marty Rabb. Erskine feels that Rabb has been on the take to purposefully lose games. Erskine requests that Spenser go undercover as a sportswriter to investigate Rabb's possible gambling scheme. Once Spenser accepts and spends a few days spectating in the dugout and press box, a ruthless shylock named Doerr warns Spenser to back out of the job. Thankfully, the threat just encourages Spenser to dig deeper.

The investigation leads Spenser into rural Illinois where he discovers Rabb's wife isn't who she claims to be. The two may not even be married. Further, all evidence suggests that Rabb's wife was a former prostitute and performed in an adult movie. After digging up the dirt in Illinois, Spenser dives headfirst into the prostitution racket in New York City while contending with an unlikely enemy – a Red Sox radio announcer named Maynard. How Rabb, his wife, Maynard and Doerr are connected is that paperback’s central story. Like the previous installments, the author counters the suspense and tension with Spenser's condescending, satirical quips. In a lot of ways, Spenser is a far superior improvement to Richard Prather's iconic Shell Scott. Spenser is a smooth, real cool jock whereas Shel Scott is a chuckle-headed, unbelievable farce. Both are enjoyable.

In many ways, Mortal Stakes turns a corner in the series. By the end of this novel, Spenser has become a changed man. More violent, less calm. His patience is replaced with anger. While always fueled to fight, the book's fiery finale thumbs the Zippo and throws it into the fumes. Spenser's violent actions are matched only by his own weighty guilt, a balance that's emotionally sparked during a counseling session with love interest Susan Silverman.

I think the more abrasive evolution is effectively captured in one of the book's scenes. Spenser routinely packs his .38 Special revolver in a shoulder rig. By the book's end, Spenser reaches for a shotgun and rams five shells in. It's this scene that's just as important as the novel's climactic  firefight because it illustrates the evolution of the character. In reading these books in order, I'm curious to see if that same stony intensity prevails in future installments. I'm hopeful. Mortal Stakes was a riveting, explosive chapter in this long-running series. Highly recommended.

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Bullet Proof

Amber Dean (real name Amber Dean Getzin, 1902-1985) was a New York native that authored 17 mystery novels between 1944 and 1973. One of the author's most consistent characters was that of Abbie Harris, a nosy amateur detective that debuted in 1944's Dead Man's Float. The seven-book series features Harris solving mysteries and assisting police in and around Rochester, New York. My first experience with Amber Dean is a stand-alone novel entitled Bullet Proof, published in 1959 by Popular Library.

In the novel's opening chapter, Jac Constable and his wife Betty are talking with New York State Police regarding a possible male voyeur that was spotted in their vineyard. When the police depart after failing to locate the perpetrator, Jac spots the man in a nearby bush. After a confusing sequence of events, Betty calls the police to return to the house. But too little too late. Betty is shot and killed by the lunatic hiding in the bushes.

Next, this opening sequence is replayed again from the perspective of the lunatic in the bushes, a 16-year old named Henry Muslim. Muslim has escaped from a nearby juvenile delinquent facility called Diligence and spent the last two nights sleeping in the basement of an abandoned house. After stealing a .22 rifle, Muslim is driven by the need for attention. He isn't fueled by adolescent rage, sex or money. He simply wants to be chased. In alternating chapters, the book changes perspective from Muslim to various law enforcement officers. But, the book's main character is Jac Constable's sexy secretary Hallie Brown.

The author forces readers to spend a great deal of time in the headspace of Hallie. These sequences are saturated with Hallie's lust for Jac, her flirtation with a local cop and daydream segments where Hallie is embraced by a husky cop and taken to an Alaskan cabin. As a fan of hardboiled, vintage crime-fiction that features tough cops and ruthless killers, the author's lovey-dovey approach to storytelling wasn't exactly the narrative promised by the book's inspiring cover. Eventually (I mean page 80 of 124-pages), Hallie is kidnapped by Muslim but the two never actually engage in dialogue. In fact, Muslim ties her up and leaves. The end.

I'm sure Amber Dean is a fine mystery author and has her share of cozy mystery fans. Based on my experience with Bullet Proof, I'm not one of them. Her method of saddling the storytelling on a number of characters was confusing and took me out of the story. After a shocking opening chapter, the rest of the book just waddles in mediocrity as Muslim peeps on residents, sits at a drive-in movie and tinkers with a car. Hallie is wasted as an overbearing sex goddess that remains tied in a chair for most of the book's hectic finish. The cops are clueless while the author pitches a surprise swerve at the end.

Bullet Proof was a dreadful reading experience and I wouldn't recommend it to anyone. If you have to own this book due to its vivid cover, please entertain purchasing a copy of it HERE.

Lou Largo #01 - All I Can Get

Before his untimely death at the age of 38 in 1960, William Ard was on a roll writing popular mystery fiction under his own name as well as the Buchanan westerns under the pseudonym Jonas Ward. Ard’s demise interrupted his Lou Largo series of hardboiled private eye novels, but the character lived on through later installments written by ghost writers Lawrence Block and John Jakes before they became famous. Ard’s first two Lou Largo novels are expensive collector’s items, but they have been reprinted in a single volume by Ramble House Books providing an affordable opportunity to enjoy the 1959 opening installment, All I Can Get.

Largo is a charming and wisecracking Manhattan private investigator with a difficult client: a wealthy media mogul named Milton Weston. Largo is hired to perform a background check on Mr. Weston’s new infatuation - a gold-digging chippy that he intends to make his eighth wife. The tycoon is thoroughly uninterested in hearing the truth about the party girl and refuses to pay Largo’s fee at a time when Largo’s reserve funds are running thin.

Ard begins the Lou Largo debut in a fun, lighthearted style that recalls the Carter Brown mysteries featuring over-the-top, wealthy eccentrics who Largo is forced to endure for business and economic reasons. And then things take a very clever turn. Nothing is as it seems in the opening act of this deceptively simple novel. Through a non-linear storyline with early-novel flashbacks and flash-forwards reminiscent of Quentin Tarantino’s Reservoir Dogs and Pulp Fiction, the reader is treated to the story behind the story, and we learn that Largo has a little deception in his heart as well regarding the girl. This early-plot twist catapults All I Can Get from a simple, lighthearted crime novel into something bordering on brilliant. And sexy. 

While never veering into pornography or graphic descriptions of lovemaking, All I Can Get was surprising explicit for a 1959 novel. I couldn’t imagine sex scenes like this in 1952 as the world apparently just wasn’t ready at that point. Seven years later, here we are. The sex scenes work because they have real context and help to explain the decisions the characters make throughout this well-crafted paperback.

As the story progresses, it becomes clear that the doomed romance between the millionaire and the sexpot is actually the subplot, not the main dish. The real story involves the Cuban syndicate based out of Tampa’s Ybor City neighborhood and a newspaper rivalry in a nearby beach town. Lou Largo isn’t even present for a large part of the book’s second act. But sure enough, Ard weaves these threads into the early-novel story of Largo, Mr. Weston and his new fiancé. All of this leads to a genuinely exciting and violent conclusion.

This is a tough book to review because I don’t want to spoil anything for you. If you enjoy crime fiction and can appreciate truly exceptional writing in the genre, you’re bound to be pleased with All I Can Get. It’s as if Ard took a close look at the dumb-but-fun private-eye sub-genre (think Richard Prather’s Shell Scott books) and asked himself “How can I turn this formula on its ear, and make it something that transcends the genre?”

Ard writes in a style popularized by Ed McBain in his 87th Precinct series. Basically, it’s a third-person narration with doses of personality and commentary sprinkled into the action with the omniscient point of view. It makes for a fun read, and Ard’s humorous narrative quips are a delight. It gives the reader the sense that you’re in good hands with Ard as your tour guide on this twisty paperback ride.

The downside is that Ard is considered to be a “collectible” author by the types of people who buy vintage paperbacks, encase them in plastic, and never read a word. Thank heavens Ramble House has compiled the first two books in the series into a single trade paperback volume titled Calling Lou Largo, which you can purchase HERE. However you get your hands on a reading copy of All I Can Get, please do so. It’s something special.

Addendum

Lou Largo Series Order and True Authors:

1. All I Can Get (1959) by William Ard
2. Like Ice She Was (1960) by William Ard
3. Babe in the Woods (1960) by Lawrence Block
4. Make Mine Mavis (1961) by John Jakes
5. And So to Bed (1962) by John Jakes
6. Give Me This Woman (1962) by John Jakes

Johnny Killain #03 - Doom Service

Before his popular Earl Drake series of heist adventures, Dan J. Marlowe authored a five-book series of hotel detective novels. Beginning with the 1959 debut, Doorway to Death, Marlowe introduced Johnny Killain, a brawny WW2 veteran who works nights at the Hotel Duarte in New York City. The author's consistent cast of characters includes Sally, the building's switchboard operator who also serves as Killain's main squeeze. I was thrilled with the series first two installments and I have been anxious to read the third entry, Doom Service (1960).

In the book's opening chapter, Killain receives a call from a bartender at the Rollin' Stone Tavern asking for him to pick up “his boy”. Readers quickly learn that the boy is Sally's brother Charlie, a young and successful boxer. Earlier in the night, Charlie experienced his first loss in a high-profile bout. Many think the match was fixed and that getting knocked-out in the sixth round was actually a high-priced dive. Killain finds Charlie nearly dead drunk at the bar and offers to take him home. However, two armed thugs barge into the bar and Charlie is fatally shot.

Readers follow Killain as he backtracks the events leading up to Charlie's boxing loss. In doing so, Killain stumbles upon the lucrative gambling circuit and a high-roller named Manfredi. Killain learns that Charlie was supposed to lose in the fourth round and that Manfredi had lost a fortune on the fight. Adding to the confusion is Sally's discovery that Charlie was holding over $100K in his bank deposit book. Was this a payout to lose in the fourth or sixth round? Did someone “re-fix” the fight for the sixth round to throw Manfredi? The answer is buried in a cast of boxing characters from referees to fight veterans, from ringside doctors to journalists. By attempting to solve Charlie's murder, Killain exposes the city's core of corruption.

Despite its silly name, Doom Service was an iron-fisted, hardboiled crime novel that should appeal to fans of the “no nonsense” approach of Mickey Spillane. There's crooked guys, shady ladies and a lot of tough guy, knuckle-up negotiations. Marlowe spends a few chapters revealing the intricacies of Sally's inheritance in terms of IRS regulations, estate taxes and monetary penalties. I'm guessing that Marlowe wrote this in the midst of settling his wife's estate – she died in 1957 – or this was simply an exercise to reveal what he learned from the experience. It felt a little out of place, but eventually circles back to the central story and ties in to Charlie's possession of the funds.

Doom Service is on par with the first two Johnny Killain novels although I would be remiss if I didn't criticize the author's setting of the story. I enjoyed the prior books due to Killain working inside of the hotel, not out of it. This novel puts more emphasis on Killain as a private-eye, including romps with a sexy secretary and a lounge act singer. I think I prefer Killain solving mysteries involving dead guests or murder inside the hotel. Nevertheless, Doom Service delivered high-quality goods right to my doorstep.

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Detour to Death

Female authors are rather underrepresented at Paperback Warrior (nothing personal, ladies!), so we put our feelers out for book recommendations of hardboiled vintage crime fiction by women. One name that kept popping up was Helen Nielsen (1918-2002), a popular mystery author of the 1950s and 1960s who also wrote TV episodes of Alfred Hitchcock Presents and Perry Mason. My introduction to her work was the 1953 paperback, Detour to Death (also released as just Detour). The novel remains available today as a cheap ebook and audiobook - both free with a Kindle Unlimited subscription.

Danny Ross is an 18 year-old drifter hitchhiking south from Chicago in search of a fresh start. He gets a ride with a kindly physician named Dr. Gaynor who needs to make a quick detour in the small town of Mountain View where the doc has patients among the locals. After a brief visit at the town’s diner, the Doc heads back to his car where Danny finds him minutes later murdered from a blow to a head. All in all, it’s a pretty basic setup for a pretty standard whodunnit.

Because Danny is both a stranger in town and the one who found the bludgeoned doctor, he’s immediately the prime suspect for the murder and detained pending further police investigation (i.e. beatings). Fortunately, two attorneys - one a drunk and the other an accomplished trial lawyer - team up to investigate the matter to learn the truth. This leads to some astonishingly unrealistic scenes of investigative procedures in which the attorney drags along both the sheriff and Danny to examine the crime scene and interview witnesses in a handful of scenes that defy any understanding of basic law enforcement operations.

While Nielsen could craft a decent mystery with solid prose, she introduces way, way too many characters for a 192 page book. I get that it’s a small town and a lot of people are suspects with varying motives, but I needed a Game of Thrones-style org chart to keep track of the townsfolk, their alliances, and their grievances.

Back to the woman-thing, Nielsen made some narrative choices that I think her male contemporaries would have done way differently. For example, the sheriff beats Danny to a bloody pulp to elicit a confession, but this was done off-page. Does anyone think that author Dan J. Marlowe would have passed up the opportunity to chronicle every nose-crushing blow? There were other examples where Nielsen pulled punches - both literally and figuratively - that serve to make the novel rather soft-boiled.

I could go on, but you get the idea. Detour to Death was just a paint-by-numbers mystery whodunnit. Nielsen could clearly write well enough, but her plotting in this one was a real snooze. Seeing the shortcomings of Detour to Death through a gendered prism may not be fair to other female authors, but we also shouldn’t be grading this softball of a novel on a curve just because the writer was a lady. There were certainly plenty of crappy crime novels written by both men and women in the 1950s. I was just hoping for something better given Nielsen’s reputation for quality. 

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A Rage at Sea

Frederick Lorenz was the pseudonym used by Lorenz Heller (1911-????) for a handful of paperback crime novels released by Lion Books in the 1950s. The New Jersey native worked as a seaman on a freighter, so it’s only fitting that I’m introduced to his body of work through his shipwreck novel A Rage at Sea from June 1953. Best of all, the book has been reprinted by Stark House Crime Classics as a double along with Lorenz’s A Party Every Night and an informative introduction by Nicholas Litchfield.

The protagonist of A Rage at Sea is Miami drunkard Frank Dixon, a former boat captain who lost his ship in a poker game and now is in the process of drinking himself to death. Out of nowhere, an opportunity arises for Dixon to captain a rich man’s yacht on a four-month cruise through the Bahamas and into the Virgin Islands. Broke and in need of a change, Dixon accepts the gig.

The owner of the yacht is an obese and lazy millionaire playboy named Charles Allard who doesn’t know the first thing about boating. He relies on Theron Addams, his right-hand man, purser, cook, and steward. Addams is also a con-man fueled by greed and love of money ripping off Allard every day of the journey. Dixon’s only reliable ally on the boat is the young engineer named Wirt, but he’s not a man you ever want to cross.

Many authors of nautical fiction fall into the trap of getting extra-technical with their level of boating detail in the narrative. Fortunately, Lorenz avoids that literary pitfall. Nearly the entire first half of the paperback was at-sea, but the reader was able to follow the action without any trouble because the author made the narrative about the four main characters. In fact, I can’t recall a lean crime paperback from the 1950s with character development handled more adeptly than A Rage at Sea.

It’s almost halfway through the novel that an accident leaves the foursome stranded on a deserted Caribbean island - as promised in the book’s synopsis. It’s then that the slow-burn novel begins to boil a bit, but it remains a character drama with shifting alliances and resentments simmering from their time at sea together. The bad blood and bruised egos evolve into threats of real violence and acts of compromised ethics and actual heroism.

A Rage at Sea isn’t particularly action-packed, but the author’s excellent writing keep the pages flying by. To be sure, it’s an odd book - more cerebral than most paperbacks of its type. Dixon is a flawed, but logical, mostly honorable and highly-competent, hero. He’s exactly the kind of guy you’d want to be stranded with on a deserted island. I really liked A Rage at Sea, but I could see it being polarizing for readers who want a bit more swashbuckling in their maritime adventures. Recommended.

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Paperback Warrior Podcast - Episode 39

On Paperback Warrior Podcast Episode 39, we take a deep-dive into the crime fiction work of Wade Miller, including a review of “Kitten with a Whip.” A review of Mickey Spillane’s “My Gun is Quick” inspires a discussion of 1940s vs. 1950s crime fiction with lots of vintage paperback fun starring Eric and Tom! You can stream the show at below or listen on any podcast app. Download directly HERE.

Listen to "Episode 39: Wade Miller" on Spreaker.

Apples Carstairs #01 - The Big Needle (aka The Big Apple)

Before he was a mainstay on the bestseller list, Great Britain’s Ken Follett began his career as a novelist with a trilogy of books released in 1974 and 1975 starring a wealthy businessman-sleuth named Apples Carstairs. The slim paperback originals were published under the pseudonym Simon Myles and were reprinted under Follett’s own name when he became a big-money brand name. The first book in the series was titled The Big Needle, later released in the U.S. as The Big Apple before reverting to the original title for subsequent reprints.

The story opens in London with Apple in bed with his two girlfriends - one white, one black (ahhh, 1974) - when he is awakened by a visit from an unexpected guest, his ex-wife. She tells Apple that their 17 year-old daughter is in the hospital following a heroin overdose. Rather than sitting vigil by his daughter’s bedside, our hero takes to the streets with a vow to find and kill the pusher who supplied his kid with the smack.

Apples beats the tar out of a junkie and learns that the dealer is a spade (again, 1974) named Harry Hat who, you guessed it, wears flamboyant pimp hats. Harry Hat proves to be a more elusive and dangerous foe than Apples anticipated as the dealer leaves a trail of beatings, kidnappings and rapes behind.

I was hoping Follett had something clever in store for the manhunt, but instead Apples goes to great lengths to become a heroin supplier to infiltrate the London supply chain from above. From this vantage point, he learns that the heroin gang stretches deeper into the fabric of London’s elite - far beyond his original target of Harry Hat. This investigation was interspersed with graphic sex scenes every few chapters leading up to the inevitable confrontation between Apples and his shadowy enemy.

Follett said he wrote these books in his 20s to raise some car repair money, and that mostly shows. He became a way better writer coinciding with his fame and success as a bestseller. I think the best thing that could be said about Apples Carstairs #1 is that it was a quick read at 175 big-font pages. I suppose it wasn’t a miserable way to kill a couple hours, but in a world with infinite choices, why bother with mediocrity?

Addendum:

The Apples Carstairs series order is as follows:

1. The Big Needle (aka: the Big Apple), 1974
2. The Big Black, 1974
3. The Big Hit, 1975

Be warned: Books two and three are almost impossible to find. Based on book one’s middling quality, I wouldn’t bother seeking out the other two. Life, after all, is short. 

Buy a copy of The Big Needle HERE

Hell Can Wait

Although he authored more than 170 novels during his 40-year career, only a small fraction of Harry Whittington’s books are available today in any format. I’m hoping that one day the Whittington Estate can marry up with an enterprising publisher to keep the author’s back catalog alive through modern reprints and ebooks. Thankfully, Stark House Press are doing a great job with reprinting a lot of the authors work, including Hell Can Wait, a 1960 paperback that is now available as a twofer with Whittington's other Hellish novel, A Ticket to Hell. 

Our narrator is Greg Morris and he has come to the backwoods town of Koons Mills with a score to settle. Over a year ago, Greg’s wife was killed in a car accident caused by the town’s boss, Saul Koons. At a subsequent civil trial, Koons arranged for false testimony to get himself off the hook and convince the court that the accident was Greg’s fault. After spending a year away mourning the loss of his wife, Greg is back in Koons Mills hell-bent on justice and revenge.

Upon arrival, Greg gets his ass kicked by a group of Koons’ employees while the town’s sheriff declines to interfere. It becomes clear that no one has any interest in helping Greg bring down the town’s patriarch and primary employer. If Hell Can Wait had been written by Don Pendleton, Greg would have gotten his satisfaction with a long gun and a sniper scope. But this is a Harry Whittington paperback, so what does he do? He tries to seduce Koons’ saucy young wife.

Hell Can Wait is a slow-burn of a novel but very compelling. It’s more of a mainstream revenge story than a normal crime fiction paperback. Well, the ending was pure noir, but I won’t spoil it here. Greg is a menacing and rather creepy character for a protagonist, and Koons is a very nuanced villain whose behavior is a bit odd throughout the book - until the twisty ending explains all. At no point did I really know where the plot was headed, which is saying a lot in a genre that usually abides by fairly rigid formulas.

Overall, I can recommend Hell Can Wait as a fun puzzle-box of a vintage paperback. It’s not quite top-tier Harry Whittington, but it will certainly be on your mind long after the last of the 144 pages are done. 

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George Gideon #14 - Gideon's River

John Creasey (1908-1973) authored hundreds of crime novels over a literary career that deployed nearly 30 pseudonyms. One of the British author's earliest works was The Baron series (as Anthony Morton, 1937-1979) of novels starring an ex-jewel thief named John Mannering. Perhaps his most popular series is The Toff (1938-1978), an aristocratic sleuth with a literary resemblance to The Saint. I discovered a 1968 paperback titled Gideon's River on my bookshelf. The author was listed as J.J. Marric, but after brief research I learned that this was part of another series of novels authored by Creasey. The series stars Commander George Gideon of the Scotland Yard's Criminal Investigation Department. Gideon's River is the 14th installment and was published in 1968 by Popular Library.

The novel features Gideon working with various law enforcement agencies along the Thames River to solve a diamond heist. But, in what appears to be a series consistency, the author presents a number of crimes for Gideon's team to investigate. This is unlike other crime-fiction novels where one crime or mystery is the narrative's focus. In Creasey's series, Gideon must solve two to three mysteries per book. Along with the diamond heist, this installment features Gideon searching for a missing girl while also preparing his department for a planned robbery aboard a large pleasure boat called River Belle.

In the book's opening pages, the Thames Division of the Metropolitan Police locate a satchel underwater containing a number of industrial diamonds. Gideon assigns Detective Micklewright onto the case which eventually leads to a group of smugglers led by a brutal and sadistic criminal named Screw Smith. With agency resources, the diamond smuggling is traced back to Denmark but leaves Gideon and his department in a heated political exchange with the Dutch Police.

Gideon's own investigation surfaces when a 13-yr old girl goes missing after school. Creasey's narrative focuses on the procedural investigation but also allows readers the girl's perspective as prisoner of a strange man living in a rock quarry. It was this portion of the narrative that produced the best results as Gideon, a father of six surviving children, maintains a close, more emotional bond with the case.

Rounding out the trio of investigations is more of a preparation for a high-profile jewelry and fur show aboard a large riverboat. Gideon's defensive measures are in advance of a planned robbery. This theft circles around to the diamond heist in Denmark, but I won't provide any spoilers on that. Gideon's team collaborates with a number of law enforcement agencies that work the lengthy, fast-churning river.

This series began in 1955 and consisted of 21 novels through 1976. After Creasey's death, four more novels were authored by William Vivian Butler as J.J. Marric. One of the more interesting aspects of the series is that the characters age as the series continues. For example, the series debut, Gideon's Day, features Gideon as a Detective Superintendent. As the series continues, Gideon is promoted to Commander. Further, his six children age through the series and eventually become married and move out. Gideon's second-in-command, Lemaitre, serves for many years but eventually he's transferred out of the department and a character named Hobbs takes the role. In this novel, an event is mentioned from an earlier installment where Hobbs' wife dies. Gideon's River also features more emphasis on Detective Micklewright and his troubles with alcohol and a failing marriage. I could sense that this story also began in earlier novels.

Creasey's prose is like watching a good television episode of your favorite cop series. It's mostly surface level interactions, witness reports and the endless struggles between the media and the law enforcement agencies. It is similar to Ed McBain's (real name: Evan Hunter) 87th Precinct series but not as well written. Considering Creasey's massive production schedule (supposedly over 600 novels), his quality probably varies depending on series and installment. Overall, I was very pleased with Gideon's River and will certainly pursue more of the author's work.

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

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

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

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

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

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

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

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

The Avenger #02 - The Yellow Hoarde

Publisher Street and Smith used their own pulp heroes Doc Savage and The Shadow as the prototype for their series of pulp adventures starring Dick Benson, the man known as The Avenger. The hero first appeared in magazines from 1939-1943 authored by Paul Ernst using the house name Kenneth Robeson. While always a likable hero, The Avenger became odd man out in a very crowded pulp market. The series of adventures ended after a brief run in The Shadow Magazine. Like the Doc Savage novels, The Avenger stories were reprinted in paperback format beginning in 1972. After thoroughly enjoying the series debut, Justice, Inc., I was anxious to begin the second installment, The Yellow Hoard.

The story begins as Benson's two teammates Smitty and Mac (introduced in Justice, Inc.) witness the explosive destruction of a four-story building in New York City. After determining that the culprits were after some mysterious “Mexican Bricks,” Smitty and Mac chance upon a young, diminutive woman named Nellie Gray. While the two watch, Nellie uses martial arts to overcome her captors and eventually become freed. Impressed, the two introduce Nellie to Benson.

Benson learns that Nellie's father, Professor Gray, recently led an expedition to Mexico to study Aztec ruins. Connecting the mysterious bricks to Gray's expedition plunges the team into a murder mystery. I won't ruin the shock for readers, but Nellie becomes an active member of the team to find the killer(s). In a way, this is her origin story just as the series' third volume introduces Josh and Rosable Newton.

Ernst's narrative focuses on Benson and his colleagues discovering the whereabouts of five Mexican bricks that display a treasure map when placed together. It's the 'ole “one ring to control them all” bit as the search runs through banks, bombed out buildings, warehouses and, of course, Mexico's Aztec ruins. While pulpy, it isn't an overly zany, suspicious spectacle of weird characters. The action is more of a procedural hardboiled crime mystery that asks the readers to suspend their disbelief during the obligatory hypnosis segments. Benson is still the chameleon as he changes his facial features to infiltrate criminal gangs, but at least he gets caught to prove he's a flawed hero.

The Yellow Hoard should appeal to fans of The Shadow, Doc Savage and other likable pulp heroes from this place in time. I thoroughly enjoyed it, and I'm anxious to learn where the team's next mission takes them. Purchase a copy of this novel HERE.

Killer in the House

Borden Deal (1922-1985) was born in Mississippi and died in Florida. Between those two events, he attended University of Alabama and wrote 21 books under his own name as well as pseudonyms including Loyse Deal, Lee Borden, Leigh Borden, and Michael Sunga. Most of his work was mainstream fiction depicting the New South, but he delved into the world of crime fiction in a 1957 Signet paperback original titled, “Killer in the House.”

Paul and Karen are a married couple - very much in love - living an idyllic rural life with their young daughter when their world gets turned upside-down by an unexpected houseguest. The guest is fresh-out-of-prison Syd, and while Paul greets him warmly, he’s not excited to see his old friend. You see, Paul has a checkered past of his own involving a period of incarceration and successful parole. He’s been honest with Karen about his criminal history, and he’s a new man now - one with a job, a house, and a family.

While in the joint, Syd helped Paul to survive, one day at a time, without going nuts or getting killed during his decade behind bars. By anyone’s estimation, Paul owes Syd a favor, and Syd is back in Paul’s life to collect. As you can imagine, Karen is not thrilled about Paul’s prison mentor staying in their house for any amount of time, but Paul insists and here we are.

It doesn’t take long before Syd pitches Paul on a heist opportunity with a sizable payday. Paul can provide for his family, and Syd can skate off to Mexico to live comfortably forever. Of course, Paul wants to straighten up and fly right, but Syd is a menacing fellow who can be quite persuasive. As the novel progresses, secrets are revealed that make it harder and harder for Paul to decline Syd’s offer.

Aside from a double-barreled, climactic ending there’s not much action throughout the paperback, but the tension and suspense run thick. You’ll need to suspend your disbelief that law enforcement officers are willing to defer tactical police decisions to civilians on several occasions in the book, but that shouldn’t be a deal breaker. After all, this is fiction.

“Killer in the House” is a terrific suspense thriller, and the author does an admirable job of turning up the heat slowly. Two strong characters locked into a test of wills made for an extremely tense page-turner. I’d you like crime novels with a sizable dose of moral dilemma, you’ll love this one, too.

Fun Fact:

My Hollywood sources inform me that Borden Deal’s “Killer in the House” was adapted into a TV episode of “The Dick Powell Theater” airing on October 10, 1961. It was episode three of the first season, and it started Earl Holliman and Edmond O’Brien as the two jailbirds. The TV script changed the characters into brothers. 

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Doomsday Warrior #01 - Doomsday Warrior

Jan Stacy (The Last Ranger) and Ryder Syvertsen (C.A.D.S.) originally met in the 1960s at Washington Square Park in New York City. Caught up in the beatnik cultural movement, the lifelong friends began swapping story and book ideas as well as songs. After working together on two non-fiction novels, Great Book of Movie Monsters (1983) and Great Book of Movie Villains (1984), the two collaborated on a post-apocalyptic series titled Doomsday Warrior under the pseudonym of Ryder Stacy. The series was published by Zebra and ran for a total of 19 installments between 1984 through 1991. The first four novels, Doomsday Warrior, Red America, The Last American and Bloody America were authored by both Stacy and Syvertsen. The remainder of the series was penned solely by Syvertsen. My review is for the series' debut, Doomsday Warrior.

The first installment is set in the year of 2089 where most of the world is either controlled by the Soviet Union or in a widely contested battle with the communist country. Most of the U.S. was decimated by nuclear bombs and the survivors maintain a meager living either as slaves or wretched scavengers that have succumbed to radiation's side-effects. With the nuclear attack occurring in 1984, the book's characters are all second to third generation survivors, a unique approach that mirrors another popular doomsday series, Deathlands.

The series stars Ted Rockson, an action-oriented adventurer that leads an American resistance group called the American Free Cities. While most of the U.S. is controlled and enslaved by the Soviet Union, underground cities still remain that are free and liberated from communist control. Rockson resides in Century City, an expansive free society that exists under a section of Colorado's Rocky Mountains (similar to Jan Stacy's character Martin Stone in The Last Ranger). Rockson's role is to lead reconnaissance patrols on missions to discover new supplies, weapons and enemy patrols. It's during one of these missions that readers are first introduced to Rockson and his Firefighter Team.

After blowing up a large bridge and a number of Soviet personnel carriers, Rockson's team comes under heavy fire from communist forces. After numerous casualties, the team retreats back to Century City to formulate a new plan of attack. The intense battle is reported back to three Soviet leaders – Killov, Zhabnov and Vassily. The trio, who compete for political power, begin an expeditionary patrol to find more resistance fighters. After locating a few underground cities, the Soviets are able to capture a number of American prisoners. Using an advanced technology called a Mind Breaker, the Soviets are able to pull pertinent information from American prisoners. Soon, the captives begin revealing locations of more underground cities that the Soviets hope to nuke.

The first 189 pages of Doomsday Warrior is clearly a debut novel that focuses on Rockson's attempts to break into a Soviet stronghold in Denver to rescue prisoners. His mission is to retrieve the captives, destroy the Mind Breaker units and prevent the Soviets from gaining the location of Century City. It's a riveting, explosive narrative that rivals and exceeds most of the 1980s post-apocalyptic novels (Wasteworld, Deathlands, Survivalist, Phoenix, Outrider, etc.). While that was enjoyable, the logic behind the book's second half is puzzling.

It is immediately clear that a new book begins at page 189. At 347 total pages, one would think Zebra would have capitalized on this and released the book's second half as second installment. These books were retailing for $2.95 each, essentially Zebra would have been doubling their money from avid consumers. Regardless of the publisher's marketing strategy, Doomsday Warrior's second narrative explores Rockson's attempts to locate a technologically advanced race in America's Pacific Northwest region.

The narrative begins with an expeditionary unit returning to Century City to report a strange mutant male they found near the Pacific coast line. This area remains vastly unexplored and the team was surprised to find people, evolved animals and a swath of jungle and wilderness that remains nearly intact despite the Soviet Union's devastating nuclear attack. Rockson, hoping to journey even further than the former team, recruits three men to assist him in exploring this new, untapped resource.

Stacy and Syvertsen really hit their stride in this second story arc. The narrative finds the crew battling mutant monsters, deadly quicksand, Soviet KGB forces and mutant, Neanderthal men. The team's exploration of a shopping mall was extremely enjoyable with just the right amount of humor to keep me laughing throughout. While the military style tactics utilized in the book's opening narrative are missing, Doomsday Warrior's second half is surprisingly far superior. The epic adventure, fast-paced writing, character development and action was absolutely top-notch.

The Doomsday Warrior series is off to a tremendous start with this rock-solid debut installment. As the series continues, I understand the quality begins to decline. However, knowing what the future holds for the series doesn't spoil the fun of this early volume. If you read nothing else by Stacy or Syvertsen, at least sample this novel. I think it represents everything that fans and readers loved about 1980s post-apocalyptic pop-culture. Recommended.

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Paperback Warrior Unmasking – Jan Stacy’s End of the World

Beginning in 1986, Popular Library published a 10-book series of men's action-adventure novels titled The Last Ranger. It catered to pop-culture's fascination with the post-apocalypse and was fueled by blockbuster films like Mad Max and The Road Warrior. The books starred a lone hero named Martin Stone, a rugged journeyman searching for his sister after a Soviet nuclear attack destroyed most of North America. The over-the-top action featured zany villains, beautiful women, mutants and monsters all competing for authority in American's wastelands. Each novel of this enjoyable series is credited to an author named Craig Sargent. A deep dive online reveals that Sargent was actually Jan Stacy, a rather unknown author that contributed to other post-apocalyptic novels including Doomsday Warrior and C.A.D.S.

Unfortunately, Jan Stacy died in 1989 and his life has remained a mystery to readers, fans and scholars....until now. Paperback Warrior was able to locate Jan Stacy's only known living relative, his stepbrother Samuel Claiborne. In a lengthy interview, Paperback Warrior was able to piece together Stacy's short but remarkable life including his inspiration for writing, his fascination with doomsday fiction and his talented musicianship. Our latest Unmasking article hopes to answer questions that have been posed for decades about this mysterious author.

The end of the world leads us to the beginning...

Left: Jan Stacy / Right: Samuel Claiborne

Jan Stacy was born in New York City in 1948 and grew up during the “duck and cover” time-frame of Post War hysteria between the communist Soviet Union and the U.S., an era that reached a fevered pitch during 1962's Cuban Missile Crisis. Stacy was just a teenager when his father succumbed to alcoholism. His death eventually led to Stacy's dependence on heroin as a teenager. To break the addiction, his mother sent him to Africa to reside with his uncle, an ambassador. As a testament to overcoming drug addiction, Stacy later started a drug rehab program for teens called Encounter.

After attending the liberal arts college Sarah Lawrence, Stacy found himself as a mainstay in the beatnik culture surrounding New York City's Washington Square Park. It's here that Stacy began his artistic and politically charged endeavors.

“Jan began as a folk singer in Washington Square and it was like a really big network with people like Patti Smith and Robert Mapplethorpe. This hippie culture is where Jan's artwork and his music came from despite the masculine novels that he would later write. Jan's mother was extremely involved in the War Resisters League and worked a lot in The Village counseling young people on how to avoid the Vietnam War draft. I haven't been able to locate it but there is a photo somewhere of Jan burning his draft card in Washington Square in 1966,” explained Claiborne.

In addition to music, the early 1970s found Stacy exploring Xerox Artwork, an artistic trend that had become a staple in the punk music scene.

Claiborne recalls, “I can remember Jan and I would cut the labels off of Campbell's soup cans and he would make these custom labels with odd artwork and put them on the cans. It became a huge hit and Jan would sell them on the street. Campbell's threatened to sue Jan for $16-million over it so he stopped. Later, Jan opened an art gallery in Soho called Fear of Art and it was just around the corner from Talking Heads' singer-songwriter David Byrne. We used to always think that Byrne got the inspiration for the album Fear of Music from Jan's Fear of Art gallery,”

It was in Washington Square that Stacy met his longtime writing partner, Ryder Syvertsen. After Stacy obtained a job working at the New York Times' Classified Advertising Department, both Stacy and Syvertsen began writing music with Claiborne and coming up with book and story ideas. In 1983, the two collaborated on a non-fiction book titled Great Books of Movie Monsters, published by Columbus Books. The two followed a year later with the Great Book of Movie Villains. In 1984, Stacy produced his first solo book titled Rockin' Reels: An Illustrated History of Rock and Roll Movies.

“Jan loved pulp and movie monsters and we shot a music video involving monsters and quite possibly the most cheesy stop-action movie monster of all-time. We loved the cheesy movies where you can practically see the strings. We did band rehearsals every Saturday and then that afternoon we would watch Kung Fu double-features. We would rehearse, then watch 4-hours of Kung Fu movies and then go smoke pot. But Jan loved horror movies and was a fan of Night of the Living Dead,” explained Claiborne.

Beginning in 1984, Stacy and Syvertsen collaborated on a post-apocalyptic series titled Doomsday Warrior under the pseudonym Ryder Stacy. The eponymous first novel is set in the year of 2089 where most of the world is either controlled by the Soviet Union or in a widely contested battle with the communist country. Most of the U.S. was decimated by nuclear bombs and the survivors maintain a meager living either as slaves or wretched scavengers who have succumbed to radiation's side-effects. The series was published by Zebra and ran for a total of 19 installments between 1984 through 1991. The first four novels, Doomsday Warrior, Red America, The Last American and Bloody America were authored by both Stacy and Syvertsen. The remainder of the series was penned solely by Syvertsen.

In 1985, another post-apocalyptic series emerged from Zebra titled C.A.D.S. (Computerized Attack Defense System). It also ran from 1984 through 1991 and consisted of 12 total novels. The house name given was John Sievert but this was a combination of different authors. The first novel, Nuke First Strike, was authored by both Jan Stacy and Ryder Syvertsen. Installments 2-8 were penned solely by Syvertsen with books 9-12 authored by David Alexander (Phoenix).

Jan Stacy's most prominent literary work would emerge in 1986. The Last Ranger series was published by Popular Library and ran for 10 total installments through 1989 (and ultimately Jan's death). The series protagonist, Martin Stone, is introduced to readers as an athletic, cocky teen who defies his father, a stern and conservative military leader. When the Soviet Union begins a nuclear assault on the U.S., Stone and his family retreat to an underground mountain fortress where Stone's father teaches him survival, martial arts and weapons for a number of years. Once his father dies, Stone emerges from the compound only to witness his mother being murdered and his sister abducted. The monomyth series emphasizes Stone's struggles with authority as he searches the wasteland for his sister. It was Stacy's third consecutive post-apocalyptic series of novels, a trend that may have been formulating at a young age.

“The doomsday thing was really a culmination of things. Jan growing up in the 1960s during the Cold War scare. His mom was Jewish and you have to remember that the European Jewish attitude is that God is out to get them. The idea that you just can't rely on anything was prevalent. Think of Woody Allen, a paranoid guy who thought the world was out to get him. Jan was like that and he loved Doctor Strangelove [1964 black comedy film]. Jan and his mom were also at odds and had a strained relationship. She was a committed pacifist and I think sometimes Jan would write these macho books as a way of defying her,” says Claiborne.

The Last Ranger's Martin Stone paralleled Stacy's own life in many ways. Stacy's strained relationship with his alcoholic father and his avoidance of the Vietnam War mirror events in the series self-titled debut. As the series continues, Native American mysticism is introduced as well as Stone's fighting skills in the martial arts.

“When Jan went to Africa to break his heroin addiction, he brought back these gorgeous African spears. I still have one of them. He also brought back a lot of Asian martial arts stuff. Jan was a great martial artist. He studied Chi Kung, Ba Gua, Hsing Yi and Tai Chi. Jan moved Chi around instead of just using brute strength. He was interested in internal martial arts. He also boxed at the famed Wu Tang Physical Culture Association. It was this crazy squatter place in The Village ran by Frank ‘The Snake’ Allen. Jan started training there and was a really short, fast wiry martial artist,” explained Claiborne.

Stacy was in a lot of musical acts from 1978-1988 and when he was age 29 he asked the younger Claiborne to join his band. The two formed a trio with Peter Ford called Things Fall Apart, which Stacy named after the novel by Chinua Achebe. Things Fall Apart existed from 1983 to 1987 and had started to find their own sound and audience. The act began opening on Saturday nights at the famed CBGB club in New York City. Just as the band had begun making strides, Stacy surprisingly told the members he didn't want to play gigs anymore.

Left to Right: Samuel Claiborne, Peter Ford, Jan Stacy
Photo Credit: Peter Ford

Claiborne said, “I can remember Jan acting different by 1987. He stopped sharing his drinks or food with me and told me to start rolling my own. That sort of thing. When he said he didn't want to gig any longer we sort of became apart for a couple of years. I remember my daughter being born in May of 1989 and seeing Jan's mother at the hospital. I told her I had ran into Jan a little while back and he looked like death. She got so upset and I was later told that Jan had tested HIV-positive, but I knew right then he had AIDS. Jan was a bi-sexual in New York City and at the time they didn't know how to treat it. They tried AZT on him but Jan just couldn't tolerate the drug.”

In February of 1989, Zebra published the only stand-alone novel Jan Stacy wrote, a vigilante novel called Body Smasher. Claiborne explains the idea behind the novel:

“The book's cover features the real-life professional wrestler Captain Lou Albano. Jan got to meet the wrestler and talk to him about the book. The idea was the book was going to tie into a wrestling promotion. It was a whole cross marketing idea that was to be a successful series of books.”

Stacy's later installments of The Last Ranger were written in a dark, negative tone with Martin Stone facing extreme adversity. In 1988's The Damned Disciples, the series' ninth novel, Stone is enslaved by a religious cult, drugged and forced to stir an enormous pot containing a sedative called Golden Nectar for weeks. I think this novel best orchestrates Stacy's endless cycle of AIDS medications. His body's resistance to AZT could have been Stone's own resistance to the forced drugs provided by his jailer. Claiborne seems to think this was a case of life imitating art. In fact, Stacy may have been on his deathbed when he authored The Last Ranger series finale, aptly titled Is This The End?

Claiborne remembers Stacy's last days:

“Jan was still working at the New York Times when he got sick. I am speculating that he made about $5K per book for the adventure novels. St. Martin's Press was involved with the non-fiction books and they paid more. Jan also had received an advance on a memoir he was going to write about getting off heroin. But Jan did what a lot of people did with AIDS and just stayed distant. Didn't want to hang out. Didn't want to talk about AIDS or anything. I remember calling Ryder Syvertsen maybe in July or August of 1989 and he told me if I wanted to see Jan to go to the Cabrini Medical Center in New York City because he was in a coma. One of Jan's martial arts teachers, Mr. Chen, was this unbelievable World War 2 veteran and he gave Jan some Chi and was able to wake him up from the coma. Jan left the hospital and wanted to go to Cape Cod, Massachusetts to live with his mother and my father. I drove him up in a Dodge Astro Van and I remember he was so small at the time and he had difficulty getting up the steps. We got to the house and Jan was reserved. He motioned for me to come over and he told me he loved me. That was a rare thing and he told me he didn't want to die. His health got really bad at the house and my father and his mother put him back in the hospital where he eventually succumbed to his illness.”

Stone suddenly knew he'd be seeing his mother and father again real soon. Well, that would be nice. He wondered in a strangely calm way within the storm of his fear just what it would be like to die. And suddenly he wished with a burst of incredible force that surged through his body right up from the depths of his libido that he could get laid once more before he died. - Excerpt from Is This The End?

Jan Stacy Bibliography:

Non-Fiction

Great Book of Movie Monsters (1983) w/Ryder Syvertsen
Great Book of Movie Villains (1984) w/ Ryder Syvertsen
Rockin' Reels: An Illustrated History of Rock and Roll (1984)

Fiction
Body Smasher #1: Body Smasher
Body Smasher #2: Death March
Doomsday Warrior #1: Doomsday Warrior (1984) w/Ryder Syvertsen
Doomsday Warrior #2: Red America (1984) w/Ryder Syvertsen
Doomsday Warrior #3: The Last America (1984) w/Ryder Syvertsen
Doomsday Warrior #4: Bloody America (1985) w/Ryder Syvertsen
C.A.D.S. #1: Nuke First Strike (1985) w/Ryder Syvertsen
Last Ranger #1: Last Ranger (1986)
Last Ranger #2: Savage Stronghold (1986)
Last Ranger #3: Madman's Mansion (1986)
Last Ranger #4: Rabid Brigadier (1987)
Last Ranger #5: War Weapons (1987)
Last Ranger #6: The Warlord's Revenge (1988)
Last Ranger #7: The Vile Village (1988)
Last Ranger #8: The Cutthroat Cannibals (1988)
Last Ranger #9: The Damned Disciples (1988)
Last Ranger #10: Is This The End? (1989)

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