It's hard to go wrong with a cover featuring gorillas and ray-guns. This one is by Rudolph Belarski, and it certainly would have made me want to plunk down a dime and a nickel back in 1941. Inside are stories by some top-notch writers, including Manly Wade Wellman, Victor Rousseau, Ross Rocklynne, and Frank Belknap Long.
Every time I post a cover from LARIAT STORY, the cover and story titles make me think, "Dang, I wish I could have written for that magazine!" I mean, I think I could have written a pretty good yarn called "Siren of the Bushwhack Guns". In fact, I have written a story inspired by a previous LARIAT STORY cover I posted, and I'll get around to publishing it one of these days. I'd like to write a sequel to go with it first. But I digress. This issue features stories by Laurence Donovan, Will C. Brown, Lee Floren, Al Storm, and Ben Frank, probably the best known names in the bunch. There are a couple of other authors I'm not familiar with. But if they wrote the kind of yarn that could make it into LARIAT STORY, I'll bet I'd like it.
I’ve been reading Frank Kane’s novels and stories about
private eye Johnny Liddell for close to 50 years now, and I still enjoy them.
Kane’s short novel THE DEAD STAND-IN, which originally appeared in the January 1956 issue of the iconic hardboiled crime digest magazine MANHUNT, was
reprinted in the double volume from Armchair Fiction that also contains Richard
Deming’s top-notch noir yarn KISS AND KILL. It’s never been reprinted
elsewhere, as far as I know.
Liddell is in fine form in this one, hired by a mystery client to investigate a
shooting in which the police cornered and killed a fugitive who had previously
murdered a man in a mugging. Liddell’s client, who is only a female voice on
the phone to him, as well as a $200 retainer sent in the mail, believes there’s
more to the case than that. In fact, she claims that the fugitive was actually
murdered and wants Liddell to prove it.
Well, of course in a private eye story, no case that appears cut-and-dried
really is, and in no time at all, Liddell is up to his neck in trouble
involving gangsters, a sultry torch singer, a hired killer imported from
Detroit, and a second killing, this time an obvious murder which somebody
fashions into a neat frame for Liddell, so that he has to find the real killer
to save himself from the electric chair. Helping him out is beautiful redheaded
reporter Muggsy Kiely, my all-time favorite sidekick/girlfriend for a fictional
private eye. (Yes, I like her even better than Lucy Hamilton.)
This is the pure quill, full of snappy patter, beautiful babes, and gimlet-eyed
bad guys. Everybody smokes and drinks constantly, Liddell gets hit on the head
not once but twice, and I grinned from first page to last. The plot’s nothing
special, but reading it made me feel like that kid again, you know, the one
sitting in a lawn chair on his parents’ front porch on a summer day with a
transistor radio playing rock and roll while he flips the pages of a paperback
as fast as he can.
I saw this 1940 film on TV when I was a kid and thought it
was the greatest movie I’d ever seen. I hadn’t watched it since then, however,
and when Svengoolie showed it a few weeks ago, I decided to record it and give
it a try. I’m glad I did, because while it turns out not to be the greatest
movie I’ve ever seen, it’s still pretty darned entertaining.
The doctor of the title is actually named Dr. Alexander Thorkel (Albert
Dekker), who’s experimenting with the effects of radiation on organic matter in
his South American laboratory. Since his sight is failing, he summons several
other scientists to assist him, but they quickly figure out that he’s a mad
scientist who has discovered a way to shrink living beings. Rather than have
his nefarious plans exposed, he traps the three scientists, their guide, and a
native servant in the room with his radium condenser and shrinks them down to
miniature size. From that point, the rest of the movie centers around their
efforts to escape from and/or kill Thorkel, all while surviving the dangers of
being five inches tall in a full-sized world.
The plot maybe could have used another twist or two, but the movie’s strengths
more than make up for that. With his bald head, thick glasses, and hulking
frame, Dekker is great as the crazed scientist. He underplays for the most
part, rather than chewing the scenery as you might expect from such a part, but
that quiet menace makes him one of the most chilling movie characters I’ve come
across in a while. The other characters are sort of non-entities, dwarfed (no
pun intended . . . oh, what the heck, yeah, it was) by Dekker’s performance.
The production values of this film are top-notch, with some of the best
Technicolor photography from this era that you’ll find. The movie looks great. (That’s
something I didn’t notice when watching it on a 19-inch black-and-white TV all
those years ago.) The special effects, which consist mostly of building
enormous sets that perfectly match the regular sets, are really good, too.
Unfortunately, some of the books, movies, etc., that I loved as a kid don’t
hold up all that well. DR. CYCLOPS definitely does hold up, and if you haven’t
seen it, I think it’s well worth watching. If, like me, you haven’t seen it in
many years, you might want to think about watching it again.
(Side note: There’s actually a novelization of this movie, something that
wasn’t all that common during that era. It was published under the name Will
Garth, which was a house-name in the pulps published by Standard/Best
Publications, aka the Thrilling Group. I believe the novel was actually written
by Joseph Samachson, an editor there, but I could be wrong about that.)
Another classic issue of BLACK MASK, with a fairly provocative cover by Fred Craft and stories inside by Raymond Chandler, Horace McCoy, W.T. Ballard, Nels Leroy Jorgensen, and Thomas Walsh, who was still writing new stories for EQMM and AHMM as late as 1983. I remember reading them, but at the time I didn't realize his career stretched back as far as it did. Quite an accomplishment.
THRILLING RANCH STORIES always had action-packed covers. It was meant as a competitor to RANCH ROMANCES, but other than the presence of a woman on the covers (usually ridin' or shootin' right alongside the stalwart cowboy hero), it looks more like a regular Western pulp with the emphasis on adventure. I particularly like this cover, but I don't know who the artist is. Inside this issue are stories by some top Western pulpsters: Eugene Cunningham, Leslie Scott writing as A. Leslie, Lee Bond, Stephen Payne, George M. Johnson, and a couple of house-names, Jackson Cole and Sam Brant. There's also a story by a female author, Zaida Packard, but it seems to have been her only Western pulp yarn.
First of all, isn’t that a great title? “The Lost End
of Nowhere” . . . That really makes me want to read the story, which in this
case is the third Kingi Bwana yarn by Gordon MacCreagh, originally published in
the January 15, 1931 issue of ADVENTURE. At upwards of 37,000 words, it’s
really more of a novel. As it opens, the American adventurer named King is
hired by a German university to locate a scientist who disappeared in what was
then German East Africa fifteen years earlier. The university has received a
letter from the missing man claiming that he has made an earth-shaking
scientific discovery, but there’s no way of knowing how long ago the letter was
sent or whether there’s any truth to it. At least, not without sending in King
to find out the truth.
King is intrigued enough to take the job, and along with his friends and
sidekicks, the Masai warrior named Barounggo and the Hottentot known as Kaffa,
he sets out to find the lost scientist, who had been studying gorillas and
chimpanzees. King discovers clues to an eccentric white man who “married a monkey”
and disappeared into the jungle. While he’s on the trail of his quarry, he and
his safari clash with a couple of different tribes and hear even more
mysterious stories about the missing scientist.
What King finally finds is not only earth-shaking scientifically, it’s also a
grave threat to the safety of the world. There’s a lot of blood-and-thunder action, written in MacCreagh’s slightly old-fashioned but
highly effective style, leading up to a great battle that approaches Robert E.
Howard or Edgar Rice Burroughs level at times.
This Kingi Bwana stories are classic, old-school adventure fiction with an air of
undeniable authenticity even when they get a little far-fetched in some of
their elements, such as this one. I really enjoyed “The Lost End of Nowhere”
and look forward to reading the rest of the stories in the series.
Growing up, I was never a fan of Tim McCoy's Western movies. They didn't show up very often on the local TV stations, and anyway, I was too busy watching Roy, Gene, and Hoppy. But now that I'm older, I've come to appreciate McCoy's work. A former military officer, Wild West showman, and Indian expert, McCoy was a little on the stiff side as an actor, but with his jutting chin and enormous hat, he always projected plenty of strength and gravitas. The 1933 movie SILENT MEN finds him playing a respected range detective and brand inspector in Montana, but the character has a secret: he's really an escaped convict who was sentenced to life in prison in Arizona for a crime he didn't commit. His old cellmate (who happens to have been a member of the gang that framed McCoy's character) shows up and tries to blackmail him into overlooking the rustling that's going on in the area. McCoy, who blames a pair of shady brothers played by Wheeler Oakman and J. Carrol Naish for the rustling, is too upright to go along with that, of course, so the gang frames him for a killing and he winds up in jail. From there, however, he gets some help from an unexpected source and escapes to track down the real mastermind behind the cattle thefts and the murder. There's some fightin' and ridin' and shootin', naturally, but not really a lot for a B-Western. You can really tell that this movie is based on a pulp story by Walt Coburn. (Unfortunately, I don't know which one.) It's just packed with back-story, plot twists, and characters who don't turn out like you might expect them to. The acting is generally pretty good, especially Naish and Oakman, and Glenn Strange, a welcome presence in any Western, shows up in a couple of scenes as a cowboy. One of the scripters was Gerald Geraghty, who went on to write some of those good Roy Rogers movies directed by William Witney. If you've never seen a Tim McCoy movie, SILENT MEN wouldn't be a bad place to start. It's a good solid B-Western, and I'm glad I watched it. A tip of the enormous Stetson to Steve Mertz, who made that possible.
THE DIGEST ENTHUSIAST continues to be one of my favorite
current publications, and the recently released Book Seven is no exception.
Once again it provides an in-depth look at a variety of digest publications
from past and present, leading off with a lengthy interview with Rick Ollerman,
editor of DOWN & OUT: THE MAGAZINE, as well as the author of several
well-received suspense novels and many top-notch introductions and essays from
Stark House reprints of classic hardboiled, noir, and mystery fiction. The interview
covers all these aspects of Ollerman’s career and is very informative and
Other highlights for me include Peter Infantino’s continuing issue-by-issue
survey of the iconic crime digest MANHUNT; a look at all the stories by Robert
Edmond Alter (an author I really like) published in ALFRED HITCHCOCK’S MYSTERY
MAGAZINE, also by Infantino; Josh Pachter’s look back at ESPIONAGE MAGAZINE, a
publiction with which he had a personal connection (and which I remember buying
faithfully off the magazine rack at the local grocery store); and an article by
Joe Wehrle Jr. on the Telzey Amberdon science fiction stories by James H.
Schmitz, some of which I’ve read, and this article makes me want to collect and
read the rest of them. All in all, THE DIGEST ENTHUSIAST is well worth your
time and money if you have any interest in these magazines at all, and if you
don’t, it just might change your mind. Highly recommended.
This is a pulp I own and read recently. The cover is by
H.L.V. Parkhurst. The scan at the top of the post is from the Fictionmags Index
because my copy has the top few inches of the front cover removed, which means
the owner of whatever newsstand it was once on cut it off and returned it for
credit, but the otherwise intact magazine found its way into the wild and
ultimately to me. For which I’m glad, because I nearly always enjoy the Spicy
This issue starts off with “The Pope’s Gonfalonier” by Wyreck Brent. That seems
to have the author’s real name, but I’m not familiar with his work at all. This
swashbuckler is set in 15th Century Rome and concerns the adventures
of a young swordsman playing rival clans the Borgias and the Orsinis against
each other. Brent gets in some decent swordplay and there are the requisite
scenes where pretty girls lose nearly all of their clothes, but for the most
part the writing is bland and the formula seems more tired than usual. This is
a rare miss for a Spicy pulp, and I’m not sure why the editor ran it as the
issue’s lead story.
Next up is “Storm Warning”, a yarn by one of the true stalwarts of the Spicy
pulps, Robert Leslie Bellem. Newsreel cameraman Johnnie Piper goes to an
isolated Florida key intending to shoot footage of an impending hurricane, only
to find an abandoned mansion, a beautiful dame who may or may not be
trustworthy, and a bunch of trouble. Great set-up, and Bellem tells the tale in
his usual breezy, hard-charging prose, but he seems to not know much about
actual hurricanes and the ending is a considerable letdown, as if Bellem
realized he had enough words and just kind of stopped. This is another
below-average story, especially for Bellem. What the heck is going on with this
Things take a turn for the better with “Kiss of Death” by Hamlin Daly, who was
really another prolific contributor to the Spicy pulps (and lots of others!),
E. Hoffmann Price. This story is about about an American who owns a mine in
Malaya and has to battle bandits, a Chinese tong, corrupt politicians, a
ruthless American tycoon out to gobble up all the smaller mines in the country,
and beautiful but treacherous women. If that sounds like a lot for a 15 page
pulp story, that’s because Price never slows things down. This one is all
action, all the way.
The next story is even better. “Clear All Wires” is by veteran pulpster John A.
Saxon, writing as Rex Norman. Saxon’s tale concerns an American foreign
correspondent getting mixed up with the dangerous politics of a Graustarkian
Central European country, and he tells it in a very smooth, polished style. I
enjoyed this one quite a bit.
“Phantom Throne” continues the upward trend for this issue. It’s by “Hugh
Speer”, who was really Victor Rousseau, an even more veteran pulpster than John
A. Saxon. This one finds a British soldier in colonial India caught up in a
violent political upheaval as he tries to rescue a beautiful young American
woman, while also becoming involved with a beautiful Indian courtesan. The
setting is rendered well, there’s plenty of action, and I found this story
thoroughly entertaining, a spicier version of the sort of yarn that Talbot
Rousseau also contributes the next story, “Lords of Folly”, under his more
common pseudonym Lew Merrill. It’s a tale of the upheaval just prior to the
French revolution, as the bastard son of an aristocrat returns to France from
America with dangerous ideas in his head. Rousseau packs enough plot for a fat
historical novel into this short story but doesn’t skimp on the action in the
process. This is another very enjoyable yarn.
It’s not often that historical figures show up as the protagonists of pulp
stories, but that’s the case in “Hell in Darien” by E. Hoffmann Price, writing
under his own name this time. It features soldier and explorer Vasco Nuñez de
Balboa in Panama, and like Victor Rousseau in the previous story, Price packs
in enough political intrigue, romance, and swordplay into this novelette for a
whole novel. It’s an excellent historical adventure yarn with a bit of an
unexpected ending. At least I didn’t expect it.
The issue wraps up with another story by Robert Leslie Bellem, this time under
his Jerome Severs Perry pseudonym. “Treasure Trail” is about an American aerial
photographer in Africa who’s hired by a beautiful British girl for a mysterious
job, only to have trying to stop him from taking it, by any means up to and
including attempted murder. Naturally the protagonist unravels what’s going on,
but not before getting into all sorts of trouble. This is an improvement on the
other Bellem yarn in this issue, but it’s still nowhere near as good as most of
his Dan Turner stories.
So overall, I guess this issue averages out. A couple of weak stories, a couple
of very good ones, and the rest competently written and entertaining, if
nothing special. I’m not sure the Spicy formula works as well with adventure
stories as it does with detective yarns and Westerns. I still enjoyed this
issue and am glad I read it.