Dangerous Dames

Pulpster copy

The Pulpster No. 26, a 2017 PulpFest publication: Not that I attended PulpFest, only being greedily acquisitive, not really a collector and generally steering clear of cons and swap meets.

But I wanted this particular “Dangerous Dames” issue with Ron Goulart’s survey of early crime and mystery pulps’ female detectives, including Hulbert Footner’s Madame Storey, Cleve F. Adams’ Violet McCade, D.B. McCandless’ Sarah Watson, and of course, Theodore Tinsley’s Carrie Cashin, the most successful of the bunch with nearly 40 stories appearing in Crime Busters and Street & Smith’s Mystery Magazine between 1937 and 1942. Prolific author and pop culture historian Ron Goulart was the perfect choice for this piece with his mile-long fiction resume and a dozen or more non-fiction books including The Hard-Boiled Dicks: An Anthology And Study Of Pulp Detective Fiction (1967) and The Dime Detectives (I have a 1980’s edition of that book). You may know him from a roster of pen names including Howard Lee, Jillian Kearny and several others. Goulart’s piece was followed by Bill Pronzini’s “Women In The Detective Pulps”, a look at women crime fiction writers working in the pulp magazines’ boyz club, including Marjorie Stoneman Douglas, Carolyn Wells, Dorothy Dunn and others.

Black Mask July 1949

The Pulpster wasn’t a newsstand magazine, to my knowledge, and at only 40 pages, a bit pricey, but well worth it for those two articles. Well, those, and the nifty Norman Saunders cover illustration, which was from the July 1949 issue of Black Mask, and still available as a poster at the artist’s website (normansaunders.com). BTW, that bloody hand print really is the artist’s own hand covered with red paint, according to Saunders’ son.

Worth The Wait: Mystery Scene.

Mystery Scene 162

The Mystery Scene 2019 Holiday Issue (No. 162) appeared in my mailbox right before Christmas, but I set it aside for a leisurely read when I’d be out of town on a short holiday-over-the-holidays.

Okay, I’m fibbing. I cracked it open right away. But that was only for a quick skim to browse the 2019 Gift Guide For Mystery Lovers while there was still time before the 24th.  There was no point in snooping the books, as it turned out, because I already had or was about to get most of those included in this year’s guide: Joyce Carol Oates Cutting Edge, Otto Penzler’s The Big Book of Reel Murders, Max Allan Collins and Terry Beatty’s Ms. Tree: One Mean Mother, Ed Brubaker and Sean Phillips’ Criminal: Bad Weekend. The novelties and more gifty items were cute enough but not targeted for my Christmas stocking or well-intended gift giving.

Publishers Kate Stine and Brian Skupin officially announced the magazine’s switch to a quarterly starting this year. It’ll be tough to wait longer between issues, but the promise of an increased page count while keeping the subscription price untouched was welcome news.

Mystery Scene Lesbian Mysteries

Along with the must-read reviews, John Vaerli’s interview with former librarian, publishing PR exec and editor Domenica de Rosa, better known by her Elly Griffiths pen name and her Magic Men mystery series, and Nancy Bilyeau’s article on Robert Galbraith (J. K. Rowling) were particular treats, as was Catherine Maiorisi’s look at contemporary lesbian mysteries, which flagged a couple writers who weren’t on my radar (but are now). As always, both the reviews and the ads launched a list of books to watch for, including Damien Angelica Walters’ The Dead Girls Club, Loren D. Estleman’s When Old Midnight Comes Along – An Amos Walker Novel, Timothy J. Lockhart’s Smith and Laird Blackwell’s Ellery Queen’s Mystery Magazine And The Art Of The Detective Story, to name just a few.

So, it’ll be a longer wait now for the next issue. Guess I’ll just have to savor it that much more once it arrives.

Always Falling For The Bad Girls.

Crime Reads - Strong Women In Mystery

Caroline and Charles Todd, authors of the Ian Rutledge and Bess Crawford mystery series, chatted about memorably strong women literary characters in the January 7thCrime Reads. Whether hero or villain, and without any implicit ratings (like least to most), their informal list ranged from Daphne du Maurier’s Rebecca and Rachel in My Cousin Rachel to Harper Lee’s Scout and Bronte’s Catherine Earnshaw, and closer to home in modern mysteries, Sara Paretsky’s V.I. Warshawski and Sue Grafton’s Kinsey Millhone. Their list isn’t intended as a comprehensive chart of powerful female literary characters, but more of a dialog prompt for readers. They list a few with their reasons, then close with, “…How would you change our list? Or add to it? And more importantly, why.”

Crime Reads Montage

Their prompt worked, and got me thinking. The first few who immediately came to mind were Phyllis Dietrichson in Double Indemnity, Bridget Gregory in The Last Seduction, Judith Rashleigh from L.S. Hilton’s Maestra novels and even Selina Kyle/Catwoman and Harley Quinn from the comics world. I stopped once I realized that I was coming up with nothing but villains, completely ignoring the long list of heroic cops, district attorneys, private eyes and plucky amateurs who comprise so much of my own reading (and writing: as in, the ‘Stiletto Gumshoe’ herself). Rebecca Cantrell’s Hannah Vogel? Stumptown’s Dex Parios? James Ziskin’s Eleanora Stone or Robert Eversz’ Nina Zero? Kara Danvers or Kate Kane? Nope. Troublemakers are the women who automatically popped into my head first, whether from novels, film, comics or TV.

There must be a message there, or something I should reckon with.

Caroline and Charles Todd wondered how readers might change or add to their list of memorably strong literary women, and why. Me? I’m still scratching my head and wondering why I thought of bad girlz before the heroes came to mind. And I’ll keep wondering, but you should go to Crimereads.com to read the Todd’s short article.

 

The Adventures Of Bianca Dangereuse

The Wrong Girl

The cover art (a photocomposed piece by The Book Designers starting with a sumptuous Tetiana Lazunova photo) might make you think Donis Casey’s 2019 The Wrong Girl from Poisoned Pen Press is a romance or historical, but it’s a fooler. I saw the novel at more than one mystery fiction site, and though I hadn’t read any of Casey’s previous ten mysteries (the nineteen-teens Oklahoma-set Alafair Tucker mysteries), I planned to check it out. I was glad I did.

Split between pre-Dustbowl Oklahoma in 1921 and 1926 Hollywood, The Wrong Girl tells the story of rural small-town teen Blanche Tucker and the perilous adventures that lead her to Hollywood, then later, stardom as the mysterious fan-favorite Bianca Dangereuse, a silent film era daredevil adventuress and real life enigma. Chapters juxtapose Blanche/Bianca’s trek from desolate farmlands to the Hollywood Hills in 1921, with L.A. private eye Ted Oliver’s investigation into the discovery five years later of the skeletal remains of one Graham Peyton. Oliver’s digging into the death of that notorious rake, pimp and all-around hood for a local crime lord, while film star Bianca Dangereuse takes a peculiar interest in the case.

Writers accustomed to having their knuckles wrapped about the whole “show-don’t-tell” thing might be put off at first by author Donis Casey’s habit to tell. And tell and tell and tell and tell some more. But it works because Casey’s a very good storyteller, and The Wrong Girl reads like the writer is telling the story herself. In person. Some of it reads like a traditional vintage P.I. novel, some like a 1920’s silent adventure film. Neither cozy nor hard-boiled, the novel doesn’t fit neatly into any mystery/crime fiction sub-genre, (complete with silent film style title cards liberally inserted throughout the text) and whatever type of mystery-adventure tale you decide to call it, I bet you plow through this 230-page quick-read with a smile. I did. Casey closes The Wrong Girl with some narrative threads clearly unresolved and the tease: “Join us next time to find the answers to these questions and many others as we continue the adventures of Bianca Dangereuse, Episode 2”.

Okay, I’ll be there.

Maybe Next Year…

Maybe Next Christmas

No, The Stiletto Gumshoe won’t be in anyone’s Christmas stocking this year, least of all mine. Perhaps I spent 2019 being naughty when I should’ve been nice. Still, I’m thinking positive thoughts for 2020, and am one of those naive types who truly believe that diligence pays off (even if I’ve been proven wrong in the past). So I know what I hope to find under my tree next year: Not baubles or bangles. Just a book, and one book in particular…

Girls With Guns: Marie Windsor

marie windsor the narrow margin

One of the 1940’s – 50’s many “Queen Of The B’s”, Marie Windsor (Emily Marie Bertelsen, 1919 – 1980) would’ve turned 100 today, December 11th.  Her film and television resume is a mile long, including her share of crime melodramas and a couple key noir films: Force Of Evil with John Garfield in 1948, and one of her best (and a personal favorite or mine), The Narrow Margin from 1952 (a publicity still from that film shown above) most of which takes place on a train, with Windsor playing a murdered mobster’s widow…or is she? (She’s much, much more.) Naturally athletic and considered tall for her time at 5’9″, she often had to stoop or do scenes sitting down when paired with height-challenged male co-stars.

PW’s Book Shopping List.

PW

A mid-November issue of Publishers Weekly was stuffed full of interesting things, particularly two special features on mysteries, thrillers & true crime in, “Out Of The Shadows” by Michael J. Seidlinger, and “Open Wounds” by Bridey Heing. The thrust of those two meaty multi-page articles: Gillian Flynn’s Gone Girl has sold nearly four million copies in seven years, during which time the mystery/crime fiction/thriller marketplace might feel overtaken by a glut of domestic thrillers helmed by similarly imperfect narrators. But the genre, its subsets and offshoots are an incredibly rich and diverse landscape of distinctive voices, inventive plot devices and milieus, so both Seidlinger and Heing showcased a wide selection of now-debuting and soon-to-arrive novels and true crime titles that aren’t necessarily Gone Girl derivatives (or even include ‘Girl’ in the title, which so many new releases have been doing). I was pleased to spot some I’d already ordered, reserved or even had in hand. And, just as pleased to see more in Seidlinger and Heing’s articles and the adjacent ads for books I mean to get, including:

After All -

After All by Robert Arthur Neff

Are Snakes NecessaryDouble Feature

Hard Case Crime’s Are Snakes Necessary by Brian DePalma and Susan Lehman, and Double Feature by Donald Westlake

Bonita Palms

Bonita Palms by Hal Ross

That Left Turn At Albuquerque

That Left Turn At Albuquerque by Scott Phillips

The Wrong Girl

The Wrong Girl by Donis Casey: ‘The Adventures Of Bianca Dangereuse’

The Beauty DefenseAnd for some non-fiction, The Beauty Defense – Femmes Fatales On Trial by Laura James

 

 

Cutting Edge.

Cutting Edge Joyce Carol Oates

I noted in a prior post that on top of channeling book buying dollars to independent booksellers, it seems that we also need to consider ordering small and micro-press titles direct from their publishers as well. I’m game for spreading my resources around, such as they are, and will go direct to Akashic Books (akashicbooks.com) to order Joyce Carol Oates’ Cutting Edge – New Stories of Mystery and Crime by Women Writers.

Akashic is the publisher of the long running “Noir” series: Chicago Noir, New Jersey Noir, Amsterdam Noir…well, name a city or region, and they probably have a noir anthology for it. I believe the last one I talked up here at The Stiletto Gumshoe was the then just-released Milwaukee Noir. And since Akashic promotes “25% off all books every day”, I guess I’ll be back for more soon enough. After all, I can’t expect my local bookseller to stock every city/region in the Akashic Noir series.

As for Cutting Edge:

“Is there a distinctive female noir?” Oates asks in the opening line of the anthology’s introduction. I’ll confess to peeking at it online, pleased to see that the editor’s intro is no slapped together half-pager. “Is there, as some have argued, a distinctive female voice, differing essentially from the male voice?” She goes on to talk about just what mystery, crime and noir really are. “It has been noted that noir isn’t a specific subject matter but rather a sort of (dark) music: a sensibility, a tone, an atmosphere.” Certainly not a genre, and hopefully more than a mere subcategory of mystery/crime fiction, whatever ‘noir’ may be, Oates is certain that there are distinct and surely vital differences between the so-called traditional male noir world and the female. “The particular strength of the female noir vision isn’t a recognizable style but rather a defiantly female, indeed feminist, perspective.”

I was pleased to once have a story included in a hardcover anthology alongside Joyce Carol Oates (pay rate aside). Cutting Edge’s list of well-known and less familiar writers is impressive. The intro describes some very diverse settings, subject, styles and plots. I’ll be buying a lot of books this month, whether for myself or as gifts (surprise!), and I’m really looking forward to Joyce Carol Oates’ Cutting Edge – New Stories of Mystery and Crime by Women Writers.

Carrie Cashin

Crime Busters July 1939 - Carrie Cashin

I read my first Carrie Cashin story in Bernard Drew’s excellent Hard-Boiled Dames anthology, but finding more is a challenge, unless you’re ready to fork over significant dollars for collectible pulps (which I’m not). I only recently spotted two Carrie Cashin tales (“Black Queen” and her debut, “White Elephant”) in The Shadow #133 and #138 at Bud Plant’s budsartbooks.com. They’ve been added to my Christmas list, though I suppose I’ll end up ordering them myself after the holidays (no one ever wants to stuff my Christmas stocking with the real fun stuff).

Carrie Cashin 1

Created by Theodore Tinsely, Carrie Cashin appeared in over forty stories in Street & Smith’s Crime Busters and Mystery pulp magazines between 1937 and 1942.  A former department store detective, Carrie looks “like a demure brown-eyed stenographer in a tailored jacket and tweed skirt”, and often defers to her “broad-shouldered assistant Aleck, to allay any clients’ concerns about a woman detecting” when they’re with clients. But Miss Cashin is the real head of the Cash & Carry Detective Agency, the first to leap into danger, and clearly the brains of the outfit. Like Lars Anderson’s Domino Lady, Carrie has a derringer strapped to her thigh beneath her skirt, sometimes surprises with a bigger weapon hidden in her purse, and rarely balks when the bad guys are up for some fisticuffs.  The Hard-Boiled Dames anthology included Tinsley’s “The Riddle In Silk”, in which Carrie (with assistant Aleck in tow) investigates a bloody murder in a remote mansion on the requisite dark and stormy night, which leads them back into the city and ultimately to the waterfront docks on the trail of a stolen pair of silk stockings which “may mean the difference between peace and war in Europe”, the hose containing secret coded messages.

I’ll have to keep looking for an affordable pulp reprint or anthology I’ve overlooked to locate Carrie Cashin in “The Man With The Green Whiskers” novelette from the July 1939 Crime Busters magazine depicted above at the top. Looks like the bad guys got the drop on Carrie this time, and maybe her lilac frock and slip contain something they want bad enough to hold her at gunpoint. Fear not: Carrie will get out this predicament.

Carrie Cashin

 

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