Saturday, February 18, 2017


By Andrew Hilleman
Penguin Books
332 pgs

At the turn of the century, Pat Crowe and an associate kidnapped the teenage son of one of the wealthiest meatpacking tycoons of Ohmaha, Nebraska, Edward Cudahy. The they were paid twenty-five thousands dollars in gold coins as a ransom. They then released the boy unharmed and fled state kicking off one of the most intensive manhunts in U.S. history. Eventually, Crowe, found himself alone and the most wanted man in America. Many considered him the last of the real wild west outlaws.

His flight took him through the southwest, then across the sea to Japan and into Africa in time to participate in the Boer War. Years later, upon his return to America, he gave himself up to the authorities and was brought back to Omaha to stand trial. Then, in the most shocking twist of all, he was exonerated though everyone knew he was guilty. His crime was so blown out of proportion during his years on the run that by the time of the  trial, his character had become the stuff of legend and average American saw him as a cowboy Robin Hood battling the elite rich. He became a hero around which they could somehow rally and strike back at what they perceived to be the injustices of the world.

Now all that is fact.  There was a Pat Crowe, he did kidnap Edward Cudahy Jr., abscond with the gold and ultimately win his court trial. These facts alone make for a fantastic story, but author Hilleman isn’t content to simply give us a dry, fact for fact recitation. Rather, in a truly amazing creative tour de force, he opts to “fictionalize” the story of Pat Crowe and in so doing produces a work so exuberant and outlandish as to clearly classify as a true piece of pulp melodrama

From the onset Crowe, tells us he is no hero and that is the most understated truth in the entire narrative. Crowe is in fact a simple minded, hard working soul who simply cannot accept the injustices the times imposed on the uneducated poor. No matter what financial endeavors he attempted to pursue, the political and economic forces of the time would conspire to assure he was never successful. These was not the days of making dreams come true. Thus, defeated at ever turn, Crowe pragmatically saw his only recourse was to break the law to achieve his goals.

He does so with absolutely no remorse. He is not a cruel man, but then again, has no problem harming, to the point of killing, those lawmen who attempt to apprehend him. The real genius of Hilleman’s tale is that he systematically deconstructs the romanticism of the western.  Regardless of heroic figure the press makes of him, Crowe remains content with his own identity. It is this stoicism that allows him to survive the current of public opinion and in the end see him through these remarkable events as nothing by a solitary survivor; an old man with one hell of a tale to tell. Which is exactly what this book is, one hell of a whopper.  Highest recommendations here.

Monday, February 06, 2017

NIGHTSCAPE - Double Feature No. 1

Edited by David W. Edwards
Part One – by Derrick Ferguson & David W.Edwards
Part Two – by Arlen M.Todd
Imperiad Entertainment
299 pages

What we have here is a title with two different pulp actioners; both edited by David W.Edwards. Thus will give you or take on each separately.

Kicking of this volume is “The Thousand-Eyed Fear” by Editor Edwards and popular pulp writer, Derrick Ferguson. It’s a deliriously delicious pulp romp evocative of some the best classic tales of the early 30s. Set in World War One, the story follows a Doc Savage clone named Lt. Nolin Quigg, known around the world as Strongboy, and his team of young soldiers to include Brits and Americans referred to as The Lost Boys.
Occult scientist working for the Germans have somehow tapped into another dimension and captured a monstrous, evil entity capable of spreading fear throughout a limitless region and turning people into babbling fools or heinous monsters.

The Germans have devised a way of draining the occult energy from this “thing” and are going to use it to power their new secret weapon, a giant tank three times the size of such war machines. Thus it is up to Strongboy and his crew to infiltrate the German’s hidden underground base, thwart the fiendish beast and destroy the super tank. As we stated at the start of this review, this is magnificent pulp brilliantly written. We’ve no clue which of the two writers did what sections, as the prose is seemless and we have to add, aside from the violent, bloody action, Edwards and Ferguson infuse some thought provoking philosophies throughout giving their characters an original twist.  All in all a great read and we are hoping to see lots more of Lt. Quigg and company in the future.

Next up is “The Q for Damnation” by Arlen M.Todd and storywise it is another stellar pulp tale with as yet another new hero in the French female masked vigilante/detective known as Monteau. Lina Mayen, when not on a case, disguises her operations under the guise of being a criminal mob boss herself. A nice tip of the hat to the Green Hornet set up. When one of Lina’s old friends, a curator of a Paris museum, is brutally murdered during the theft of a special painting said to possess arcane mysteries. Monteau is soon caught up in a truly bizarre case involving elements reported during a World War One battle. Lo and behold, we readers suddenly realize this story, happening almost thirty years after the first adventure, is actually a sequel that reveals some of the horrendous aftermaths of that previous tale.  All in all, Todd’s writing is competent and we had fun challenging ourselves to properly translate much of his French dialogue; it being one of the languages we were raised in.

Now we’d love to give “The Q for Damanation” the same high marks as we did for “The Thousand-Eyed Fear,” but unfortunately that becomes impossible due solely to the printing gimmicks scattered throughout the text. By that we mean there are entire sections done in faux cursive, ala diary entries that go on and on, or reprinted hospital forms filled with supposed doctor’s notes etc. etc. There is even a section presented to us ala a scene in a play! We have to wonder if the editor believed this was a “fun” way to break up the monotony of page after page filled with only text?  Keep in mind, all books are for the most part just pages of text. It was those words do that matters, not how they are dressed up visually. Thus this stuff fails miserably as it merely creates annoying, jarring visuals that instantly take the reader out of the narrative. Something that should be avoided at all cost. In the end, we’d suggest, if he truly needs to break up the repetitiveness of text pages, he revert to the traditional use of pulp interior illustrations. When done by talented graphic artists, such pieces actually enhance the fiction.

In the end, this is really a good, solid package and we do recommend it highly. The level of imagination in this volume is noteworthy and will entertain even the most jaded pulp fan.

Thursday, January 19, 2017


By Ed McBain
Hard Case Crime
237 pages

As a high school student in the early 1960s, we discovered the paperback crime fiction of writer Ed McBain and instantly became enamored of his enormous talent. He was and remains to this very day our favorite author. “Cut Me In,” is one of his early works but before we get into the review here’s a little background. Ed McBain (Octorber 15,1926 – July 6, 2005) is was one of the pen names of author and screenwriter Salavtore Albert Lombino who legally adopted the name Evan Hunter in 1952. Over his career he wrote under several pseudonyms that included John Abbott, Curt Cannon, Hunt Collins, Ezra Hannon and Richard Marsten, amongst others. But he is best known as McBain, the name he used for most of his crime fiction to include his popular 87th Precinct books which became a staple of the police procedural genre.

In 1951, Lombino took a job as an executive editor for the Scott Meredith Literary Agency and there worked with such authors as Poul Anderson, Arthur C.Clarke, Lester del Rey, Richard S.Prather and P.G.Woodhouse. That same year he made his first professional sale; a short science-fiction tale titled “Welcome Martians!” published under his birth name of S.A. Lombino. In reading “Cut Me In,” it is obvious McBain used experiences learned in that job as the basis for his murder mystery.

Protagonist Josh Blake is half owner of a New York Literary Agency. One day he comes to work and finds his partner, Del Gilbert, shot to death. A Detective Sgt. DiLuca is assigned the case and Blake thinks he is an incompetent bumbler. On the verge of signing a big movie deal concerning one of their major clients, Blake suspects someone wants the deal nixed and when the agreement contract goes missing, he’s convinced it was the motive behind the killing. Then Gilbert’s mistress is murdered and DiLuca turns his attention on Blake.

“Cut Me In,” told from Blake’s perspective, is a fast moving, taut thriller and gives the reader a glimpse into the cutthroat world of agents, writers and Hollywood producers; people willing to sell their souls to the devil to gain fame and wealth. Whereas published in the mid-50s, there’s a distinct chauvinistic feel to McBain’s depiction women. All of them appear cookie-cutter beautiful, professional and sexually aggressive ala some antiquated exploitation pulp in which all the women are deprives nymphomaniacs who throw themselves at the hero. In lesser hands, it would be paperback trash and we suspect McBain was all too aware of its tawdriness. Yet he was writing in a time when editors demanded such blatant pandering to their readers. That he manages to deliver a solid mystery despite these handicaps is no small achievement and “Cut Me In” is a wonderful look back at the beginnings of a writer would eventually be awarded the coveted Grand Master Award by the Mystery Writers of America.

And if that isn’t enough to get you to pick up a copy of this book, it also has a bonus Matt Cordell private eye short in it, which is pure 50s tough-guy fiction.  Honestly, mystery lovers, it really doesn’t get any better than McBain.

Friday, January 13, 2017


By Stephen Jared
Soltice Publishing
202 pages

Stephen Jared is one of the more promising voices in New Pulp fiction working today and his past titles have shown a real flare for both heroic adventure and tightly plotted noir crime thrilles. Whereas with “Need More Road,” he sets out on a much more ambitions journey to create a poignant character study of a lonely man living in quiet desperation. Sadly, even his talent can’t save the book’s rambling second half.

The tale is set in the post World War II years. Eddie Howard is a fifty year old bank clerk living the sleep desert town of Barstow, California. He lives alone in his dead parents’ house where he was raised and the only real joy he has are his trips to the small movie house. Eddie loves the movies and sees each new release multiple times. They are his ticket out of the mundane routine of his boorish life. 

Then one day a beautiful young woman walks into the bank and from that moment on Eddie’s world is sent spiraling out of control. A Marilyn Monroe clone, Mary Rose has come to Barstow to set up an account for her father, Mr.McCoy, who is still living back in Los Angeles. Eddie befriends her and they soon become close. He can’t believe his good fortune.  When her supposed father eventually arrives in town, the reader is miles ahead of this familiar noir plot line.  The man calling himself Mary Rose’s father is actually her criminal boyfriend and they are in town to rob the bank. By now Eddie has fallen totally under the blonde femme fatale’s charms.

All this is classic noir and Jared does a great job moving the story along carefully with no sense of urgency. It is this deliberate pacing that builds the tension and as poor Eddie falls deeper and deeper into the couple’s web of lies, it is impossible to put the book down. The heist is carried out and then the characters begin their escape with the stolen cash.

Even when Eddie manages to outwit McCoy and his safecracking buddy, and escape their clutches with Mary Rose in tow, the suspense rolls along at breakneck speed taking the fugitives on a twisting, rambling road. All the while their relationship seems to flounder and have no clear purpose; it’s as if despite everything that has happened, Eddie and Mary Rose are doomed to remain strangers.

The hallmark of noir fiction is a climatic finale that is most often tragic. Whereas Jared’s last third of “Need More Road” doesn’t go anywhere. It just stops. The book has no solid ending to justify its powerful first half. At the end we are left with an exercise in good writing.  In this genre that is just not enough.

Sunday, January 08, 2017


By Jack Williamson & James Gunn
Tor Books
294 pgs
First published 1955

Every now and then a publisher will send us a new edition of a classic book.  Such was the case when Tor sent us a new softcover edition of “Star Bridge” by Jack Williamson and James Gunn. Although we’d never read it before, we had heard of it over the years and were delighted to have the opportunity to see what the fuss was all about.

Williamson, a well known author in the field, wrote the first fifty pages of the manuscript before hitting the dreaded writer’s block and putting it aside. Years later, he met and became friends with the younger Gunn and ultimately gave him the material, which also included extensive notes, to complete the book.  Gunn did so in a masterful way and it was published in 1955. Then it simply drifted off into oblivion.  In fact most critics of that time thought it nothing but an old fashion space opera filled “fast-moving blood-and-thunder…” quoting Villiers Gerson for the New York Times.

But like all hidden gems in the rough, the book simply wouldn’t go away and continued to be reprinted by various publishers. Eventually new generations of sci-fi fans found it such as authors Samuel R. Delaney and Edward Bryant, who both have said it was the book that “turned (them) on” to science fiction.

The book revolves around mankind’s expansion into far flung space via special tubes which allow travel beyond the restraints of FTL.  Since their invention, on the distant planet of Eron, the tubes systematically created a vast galactic empire which is controlled by the golden people of Eron. As the book opens, the Eron’s governing body has become totally corrupt and is mercilessly crushing any and all who stand in its way. Thus a mercenary named Horn is hired to assassinate the General Director, the all powerful ruler of Eron. In accomplishing his mission, Horn quickly comes to realize he has set into motion a new power struggle which will destroy the empire and along with it civilization unless he can learn the real secret of what powers the tubes.

What we have here is at its core an old fashion space opera, easily derived from Williamson’s own outline. It was the style of writing he excelled at. But at the same time, Gunn, a more introspective writer, layers his chapters with the philosophies behind human nature in both describing its noble strengths as opposed to its obsessive quest for power. Thus while spinning an action packed adventure we are given a treatise on the relative importance of impersonal forces and individuals in the event of history. One modern day fan of the book likened it to collaboration between Heinlein and Asimov and we would agree with that description.

“Star Bridge” is a great book worthy of being a science fiction classic. We’re glad we finally had a chance to enjoy it. If you haven’t yet, we urge you to do so soon. You won’t be disappointed.

Friday, December 30, 2016


A Snapshot Universe Novella
By Dale Cozort
Chisel & Stone Publishing
77 pages

Writer Dale Cozort enjoys alternate world fiction and several of his full length sci-fi novels have dealt with this theme. Whereas most such books require much elaborate world building and can be complicated to establish. Now he seems to have found the perfect solution to all that in his Snapshot novellas.  We don’t claim to understand the set up fully, but it appears that in the far future bubbles of alternate worlds have been created in which people can travel freely and intermingle with both animals and cultures from various eras in human history.

Now one of those major bubbles is Madagascar where various hybrid lemurs and other bizarre creatures live in the wilderness. The land has also been colonized in specific areas to even include an Amish community.

It is in this fantastical setting that we meet our protagonists, Scott Hardy and Athena Anders. Both work for a traveling zoo which keeps many exotic animals from lots of different Snapshot worlds. The most popular of these are two dog-sized dinosaurs named Mister McGuffin and  Horny Chick. Days prior to the zoo’s opening show, the two dinos escape and it is up to Scott and Athena to find them fast.  Apparently Horny Chick is in heat and should she and Mister McGuffin begin breeding, their eggs could hatch and systematically destroy the fragile Madagascan ecology.

And if that wasn’t serious enough, they soon realize the animals’ escape might have been caused by someone for nefarious reasons beyond their comprehension.  And so the couple races against time to both find the missing creatures and solve the riddle of their disappearance.

Cozort has a whopping fun time with this tale and his characters are charming.  Enough so that the reader immediately take to them and their odd dilemma.  The Snapshot world is a crazy hodgepodge of Sci-Fi stables skillfully employed as an exotic backdrop to a really enjoyable and fast paced novella.  If you like the exotic, you’ll find get your fill with this marvelous little book.  Enjoy.

Tuesday, December 27, 2016


By Mike Baron
WordFire Press
401 pages

Since turning his considerable talents to prose, Eisner Award winning comicbook writer Mike Baron has been knocking out some fantastic over-the-top fiction. Among these is “Banshees,” a horror fantasy set squarely in the world of rock and roll and its tale is as loud and boisterous as the craziest heavy metal performers blasting out musical Armageddon.

The tale revolves around the apparent resurrection of a 70s trio known as the Banshees who went out in a blaze of glory when their private plane crashed into the unyielding Scottish Highlands. Now, decades later a new group appears on the European circuit claiming to be the Banshees and playing the old band’s repertoire in perfect mimicry. Enough so that several people begin to wonder if this may in fact be the actual Banshees returned from the dead.

Chief of amongst these is Ian St. James, the only progeny of the original three, being the son of the Banshees’ drummer Oaian St.James. Himself a one time musician, now down on his luck, St. James attempts to contact the group only to be thwarted by the group’s manager, a decidedly thuggish Russian mobster associated with an occult group known as the Mad Monks. When an attempt is made on his life, St. James quickly realizes there is more going on than merely a publicity gimmick by a group of rock and roll posers. Something totally beyond his ability to deal with alone.

His luck changes when a reporter for the popular In Crowd magazine, Connie Cosgrove, enlist his aid chronicling the Banshees newly scheduled tour from Berlin to Paris, London and ultimately the US; all to culminated at a sold out venue in Los Angeles.  Along the way they meet a weird fellow named Prof. Klapp who is convinced the Banshees are the resurrected dead and their appearance in the world signals the end of times. Whereas only St. James has the ability, through his blood connection, to stop them and save all mankind.

Baron’s book is a rocket blast of suspense that moves at breakneck speed. Along the way it is crammed with hundreds of hilarious cultural bon mots and innuendos that set it leagues above other mundane horror tales.  “Banshees” is a brilliant achievement by a creative force that is just getting warmed up.