Dangerous Dames Are Heading My Way.

Dangerous Dames Ordered

The to-be-read pile on the writing lair’s endtable is usually stacked high, but I’d been whittling it down the past week or two, and got caught empty-handed just as we were all directed to burrow into our shelters. No libraries. No local indies or Barnes & Noble, no Half Price Books, no comix shops…nothin’.

So, I spent some weekend time burning through my credit limit for items from multiple sites from small press publishers to Amazon, for curbside bookstore pickup and elsewhere. First up: Some nifty noir-ish and pulpy anthologies spotted at The New Thrilling Detective Web Site with handy links to Amazon for these (presumably) used OOP gems.

“Twelve Lively Ladies…Twelve Deadly Dolls!” it says up above on the cover of 1955’s Dangerous Dames.  Okay, I’m in, even if it’s a pretty fair assumption that ‘Mike Shayne’ had no hand in the selection process. I’d have probably gone for The Dark End Of The Street based on the cover alone, and I’m kinda miffed that I missed that one before. “New Stories Of Sex And Crime” sounds like a nice mix of the noir and the naughty, and who couldn’t use that when we’re all so social-distanced?

Dark At The End Of The Street Ordered

I know I’ve seen Otto Penzler’s Murder For Love but don’t know why it’s not in my bookcases.

Murder For Love Ordered

Mickey Spillane and Max Allan Collins may seem like a puzzling duo to some, but thank goodness the scribe from Iowa befriended everyone’s hard-boiled hero while Spillane was still among us. I definitely did not know about this particular anthology, and very much want to see how those two managed to narrow things down to only twelve “hard-boiled, hard-hitting women writers”.

Vengeance Is Hers

Last up, an oldie from the Martin Greenberg anthology factory, which put out some terrific as well as some been-there-done-that anthologies in its heyday. But then, who knows how long the great sheltering may last…apparently past Easter Sunday, contrary to some hare-brained podium bluster. I’m betting I’ll find something I like in a book titled Tough Guys And Dangerous Dames.

Touch Guys And Dangerous Dames Ordered

I tried for Dolls Are Murder, a 1957 pocketbook from The Mystery Writers Of America, but someone else got there first and it was no longer available.

More books are en route from elsewhere and via pickup, and the writing lair’s to-be-read endtable shouldn’t look quite so forlorn pretty soon.

Over 6,000 Books Per Day.

The Loong Wait 1

Just over 6,000 books per day. Every single day. For the last 102 years, since the day he was born on March 9, 1918, in fact. That’s how many books you’d have to sell to equal Mickey Spillane’s estimated tally.

That’s not just a successful writer. That’s a pop culture phenomenon.

Born Frank Morrison Spillane in Brooklyn, New York, Mickey was writing for comics in the 1940’s, a career he’d started while still a Gimbels basement salesman before enlisting in the Army Air Corps the day after the Pearl Harbor attack. The comics scripts led to writing two-page prose shorts used as filler in some titles. Newly married after the war and looking to buy a country house in exurban Newburgh, New York, Spillane decided to write a novel for some added income, blasting out I, The Jury in just 19 days. Accepted by Dutton, it sold over 6.5 million copies in its initial hardcover and paperback releases. Pre-Amazon, pre-eBook.  I, The Jury introduced postwar crime fiction readers to an entirely new type of hard-boiled private eye: Mike Hammer, adapted from Spillane’s earlier Mike Danger comic scripts, a rough, tough loner dispatching vigilante justice with his fists and his .45 on single-minded vengeance filled quests against organized crime in the earliest novels, and Communist spies in later works. Spillane wrote 13 Hammer novels (and a number of short stories) between 1947 and 1996, some unfinished manuscripts later completed by Iowa writer Max Allan Collins in recent years. I’ve got ‘em all, some in different editions, along with Primal Spillane, collecting his early shorts, Collins and James Taylor’s One Lonely Night – Mickey Spillane’s Mike Hammer and From The Files Of Mike Hammer – The Complete Dailies And Sunday Strips from the mid-50’s and others. A scan of my more-or-less demolished (slightly cleaned up for use here) 1952 first printing of Spillane’s The Long Wait paperback is the image up above. I want to get the edition below, and will inevitably when I spot one going for less than collector prices.

The ong Wait 2

The Long Wait is a non-Hammer novel, though with some minor tweaks it easily could be, and I suppose Spillane scholars debate whether it started out as one. In the tradition of Ross MacDonald’s 1947 Blue City and a host of similar crime fiction novels, a drifter who’s much more than he seems stirs up trouble in a lethally crooked town, not arriving as a hero on a quest, but seeking vengeance. When the dust settles – or the gun smoke clears, the blood stops flowing and the screams finally fall silent, this being a Mickey Spillane novel – there’s a brief bit of ‘gotcha’ at the very end as in most Spillane tales, though they all (like so many postwar crime fiction novels) could do with expanded denouements, IMHO. Also shown here is a foreign (French?) edition which adapts the original U.S. hardcover’s dustjacket art. The other is an Orion UK paperback edition, which is what you get today if you order a new paperback online, and what the hell that cover art is about, I don’t know.

The Long Wait 3

I cherish Spillane’s first wave of Mike Hammer novels from 1947 through 1952 (before he became a Jehovah’s Witness, putting his writing temporarily on hold): I, The Jury, My Gun Is Quick, Vengeance Is Mine!, One Lonely Night, The Big Kill and Kiss Me, Deadly. Still, I have a particular but inexplicable affection for The Long Wait, every bit as hard-boiled, gritty, violent and retro-sexy as any of his early Hammer books, if not more so.

The Long Wait 4

It was made into a film starring Anthony Quinn and Peggie Castle in 1954, which I’ve never seen, though it sounds like it uses at least the core of Spillane’s novel. It doesn’t seem to be available on disk or download, and the only sites I see offering the film have “dot-ru” at the end, so you’ll understand if I’m not ready to click away on those.

The Long Wait 5

Mickey Spillane’s popularity was lamented by intellectuals. He was reviled by literary critics, envied by fellow writers, and adored by readers (he called them customers) and paperback rack-jobbers. For good or bad, he added a new chapter to the evolving twentieth century mystery/crime fiction genre and to the paperback book pop culture revolution.

So, happy 102ndbirthday, Mickey Spillane. Say hello to Velda and Pat Chambers for me.

One Good Deed

One Good Deed

We’ve been here before. If you’re a fan of postwar paperback originals, you’ve been probably here quite a few times, in fact. But that doesn’t mean we don’t want to be here all over again if a talented writer can make it worth the trip.

A stranger arrives in a made-up big town/small city, typically in some vaguely Midwest or southwest locale, only to wind up in trouble with the local law, corrupt power brokers and – inevitably – the resident femme fatale. It’s been a standalone mystery/crime fiction novel staple since the 1940’s. Paw through musty paperbacks in a used bookstore and you’re bound to come up with one or more. Familiarity (even occasional redundancy) doesn’t undermine this viable noir-ish story setup, any more than seascapes, still life’s and figure studies would be invalidated simply because painters frequently explore them like an artistic right of passage. Two examples of this type of story that immediately come to mind are Ross MacDonald’s Blue City from 1947 and The Long Wait, a rare non-Mike Hammer novel from Mickey Spillane in 1951. And I bet you could name some others.

Blue City MontageThe Long Wait Montage

So, there’s nothing surprising about David Baldacci giving this time-honored theme a go in his current One Good Deed, other than the fact that this NYT bestseller already knocked out nearly 40 novels (his first novel, Absolute Power, adapted to a successful film as well) before contemplating his first retro postwar setting. Based on some online reviews I’ve spotted, it caught a few of his loyal fans off-guard. Well, they better get used to it, since it sounds like One Good Deed is the first in a new series Baldacci has planned.

In 1949, Aloysius Archer steps off the bus in Poca City in ill-fitting clothes, a measly few dollars in his pocket and a three day stay prepaid at the only hotel. He’s due to meet his parole officer, find a job and start over after a three-year prison stint on trumped-up charges. But Archer (which is the handle he prefers) endured far worse as a decorated infantryman in WWII’s Italian campaign, and is a man to reckon with.

An ill-advised but understandable urge for a forbidden drink and some barroom banter with a local lounge looker are among his first mistakes. Followed by a bigger lapse in judgement when he agrees to collect a debt for Poca City’s big shot, Hank Pittleman, who owns the local bank, the town’s only industry (a hog slaughterhouse), the hotel Archer’s staying in…hell, even the cocktail lounge they’re drinking in. And the girl who’s got Archer’s head spinning. As will happen in such tales, Archer winds up in bed with Pittleman’s seductive mistress…the same night Pittleman’s murdered, his throat slit ear-to-ear. All of which finds Archer in one hell of a lot of trouble with the local law, the State Police homicide investigator who takes over, and Archer’s own parole officer…who just happens to be an intriguing woman with a mysterious past and is every bit as alluring as the Poca City bad girl he’s already mixed up with.

There’s enough small-town drama and family secrets to fill both a Grace Metalious novel and a Tennessee Williams drama here, mixed in with a puzzling murder mystery (and a few other dustups and deaths along the way), all capped off with a climactic courtroom scene, which may sound like a bit much for any one book, but then Baldacci’s a real pro and more than up to the task. I’d never read one of his novels before, but knowing he plans more Archer novels after One Good Deed, I’ll be watching for the next one. The fact is, when I stumble across some musty old paperback by a long-gone writer in a used bookstore with some other loner stepping off the bus in a made-up town’s Main Street, I’ll probably give it a try too, no matter how many times I’ve been there already.

More From Bertil Hegland

Bertil Hegland 1

A few more examples of Swedish artist Bertil Hegland’s mystery/crime fiction cover art, the illustrator’s career tragically cut short at age 42 when an accident caused him to lose the use of his hand. Look for the preceding post for more examples of Hegland’s work.

Bertil Hegland 9Bertil Hegland 8Bertil Hegland 7Bertil Hegland 6

A Career Cut Short: Bertil Hegland

Bertil Hegland 2

Bertil Hegland (1925 – 2002) was a Swedish illustrator known in the Scandinavian market for popular children and teen book series covers — including the Nancy Drew series (apparently called “Kitty”) — as well as hard-boiled mystery and crime fiction covers. Initially an advertising illustrator, Hegland migrated more and more to publishing. By the late 40’s and still only in his mid-twenties, his main clients were book, digest and magazine publishers.

Bertil Hegland 10

But at only 42, Hegland was the victim of an unfortunate car battery accident that severely injured his hand, to the point that he could no longer draw. Apparently, he gave up art altogether at that point. Whether his hand was crushed by a battery (they can be pretty heavy) or it exploded (which we’re often warned about) isn’t clear.

You can point out that Mickey Spillane, James Hadley Chase, Peter Chaney and other writers’ work was packaged in more handsome cover art in the U.S., UK and elsewhere, and I won’t argue. Publishers in smaller markets deal with substantially shorter press runs and surely looked for proportionately smaller fixed upfront costs. Many encouraged illustrators to freely ‘adapt’ U.S./UK covers, and you can see that at work here with some of Hegland’s illustrations.

Bertil Hegland 4

Biographical info is spotty at best on Bertil Hegland, and most of that in Swedish, which I can confirm translates pretty poorly in standard online translation. Check the next post tomorrow for additional examples of Hegland’s work.

Bertil Hegland 5

More From Manhunt

Manhunt 5 April 1953

Celebrating Manhunt, the postwar mystery/crime fiction magazine that ran from 1952 to 1967, here with a few exemplary covers. Get your hands on Stark House Press’ new The Best of Manhunt – A Collection of The Best of Manhunt Magazine edited by Jeff Vorzimmer, even if only to read the editor’s excellent introduction, “The Tortured History of Manhunt”, which almost reads like a crime story itself!

The issue above is one of my favorite Manhunt covers, and not because it included stories from two of my personal postwar idols, Mickey Spillane and Henry Kane. No, the cover art just manages to include everything the period’s hard-boiled niche of the genre was about, in all its pulpy glory, but does so in what feels to me like a darker and more mature way than the 1930’s – 40’s crime pulps ever managed to do. Just one fan’s POV, mind you.

Manhunt 1Manhunt 3Manhunt 4Manhunt 6Manhunt 7

The Best Of Manhunt

The Best of Manhunt

I pre-ordered my copy of The Best of Manhunt – A Collection of The Best of Manhunt Magazine edited by Jeff Vorzimmer earlier in the summer. The book arrived weeks ago, but eager as I was to dive right in, I was already committed to other reading, and reluctantly set it aside. Typically juggling two books at once, anthologies often find their way to my car. Short stories are ideal for a quick read over the AM coffee-to-go, during workday breaks or while waiting for an appointment. With 39 stories to devour in this nearly 400-page book, I figured it would hold me for a week or more for sure. Once I got around to it, that is.

The hell with that…I blew through this book in two days, and feel like I’ve just been given an incredibly humbling how-to course in the craft of mystery and crime fiction writing from some of the genre’s masters, and all for a little over twenty bucks instead of a fat tuition check.

Yes, I was puzzled about the story sequence and why Mr. Vorzimmer decided not to put them in chronological order. And yes, I was a teeny-tiny bit disappointed that the book wasn’t illustrated (excluding two small sample page reproductions and one amusing illustration in the editor’s intro). That’s not me grousing about anything, just wondering aloud. This handsome volume from Stark House Press more than makes up for it by not skimping on other extras, including an entertaining anecdotal foreword from Lawrence Block, an explanatory story selection front piece from the editor, Vorzimmer’s 9-page introduction, a reprint of Scott & Sidney Meredith’s introduction from the 1958 The Best From Manhunt paperback (see below) and a reflective afterword from Barry N. Malzburg to close the book.

The author list reads like a rogue’s gallery of postwar mystery and mid-twentieth century short fiction luminaries, including: Nelson Algren, Lawrence Block, Gil Brewer, Erskine Caldwell, Harlan Ellison, Fletcher Flora, David Goodis, Evan Hunter, Frank Kane, John D. MacDonald, Richard Prather, Mickey Spillane, Donald Westlake and Harry Whittington…and that’s only about a third of the roster.

Favorites? Don’t ask, there are too many. Okay, twist my arm and I’ll say that David Goodis’ 1953 “Professional Man” just might be my fave, a dark tale about an always-reliable hit man forced to kill his own lover. And for me, Gil Brewer’s 1955 “Moonshine” was far and away the most disturbing tale in the anthology, dealing with a cuckolded husband driven to murder…make that murders, plural. The closing scene, after he’s killed one of his wife’s lovers, surprised yet another (literally hiding in the bedroom closet) and shot him, murdered his wife, and then, with the still smoking .45 automatic in hand, calls his two children into the room. I’m still getting chills picturing that grim closing scene.

If you think you know the crime pulps based on the 1930’s-40’s detective magazines – and I’ve read and enjoyed my share of those via reprints as you may have noticed from material appearing here – trust me when I tell you than the stories in Manhunt were quite different. Oh, there are some rogue cops, hard-boiled detectives, gunsels and femmes fatales, of course. Some familiar postwar private eye series characters even make appearances, including Richard Prather’s Shell Scott and Frank Kane’s Johnny Liddell. But they’re hardly indicative of the creatively diverse stories you’ll find here. I’m neither an expert nor an authority on postwar mystery/crime fiction, only an avid fan. But I can think of no better book to provide an overview of what the genre was capable of in the 1950’s than this The Best of Manhunt – A Collection of The Best of Manhunt Magazine as put together by Jeff Vorzimmer. And you’ll just have to indulge me for a few subsequent posts while I celebrate the magazine’s 14-year run with some random covers worth viewing.

Below is the 1958 ‘Best of’ paperback, with its Ernest Chiriacka cover:

best from manhunt 1958 ernest chiriacka cover

 

Noir City

Noir City No 26Received last week: Issue Number 26 of the Film Noir Foundation’s Noir City e-magazine, 83 sumptuously designed pages laid out by Art Director Michael Kronenberg, with articles on the Chicago mob’s interference in the Hollywood labor movement and how that set the stage for the Blacklist, novelist/screenwriter Jonathan Latimer, collecting film noir posters, Louise Brooks in Pandora’s Box, an interview with writer Jason Starr, comparing/contrasting Mickey Spillane’s novel Kiss Me Deadly with the film version and much, much more. If you like things you see here at “The Stiletto Gumshoe”, you’ll love The Film Noir Foundation’s Noir City magazine. Go to the organization’s site, browse around some, and by all means become a contributor, not only to help support their film preservation efforts but to get your mitts on this gorgeous and informative publication. Link below…

Film Noir Foundation Site

http://www.filmnoirfoundation.org/home.html

 

Listening To: (I Wish)

The Music From Mickey Spillane's Mike Hammer

From Modernizor at Tumblr and Pinterest, originally from Flickr, The Music From Mickey Spillane’s Mike Hammer, which looks like it’s music from the Mike Hammer TV series, arranged and conducted by Skip Martin…featuring RCA Victor’s ‘Sound Of Violence’?! Oh I wish that LP was spinning on my turntable right now.

 

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