|Vintage Pulp||Jun 1 2019|
The villain in Beast in View begins as nothing more than a serial phone harasser who seems to know just enough about her victims to prey on their insecurities. The lies she tells her victims are terrible, and the language is ugly too. More direct forms of harassment soon commence, just about the time amateur sleuth Paul Blackshear steps in and is asked to find the caller. That seems easy enough at first, but he soon finds that identity is a more nebulous concept than he imagined.
Beast in View won the 1955 Edgar Award for best mystery of the year. Hmm... well we liked it. But is it really better than Patricia Highsmith's The Talented Mr. Ripley, which it beat? We don't know about that. Later Beast in View was voted one of the best mysteries of all time by the Mystery Writers of America. That's a broader accolade, in a way, and we can't find any fault there. It's a good book, written in classical mystery style, with a great ending, and this line:
[no spoiler] felt no pain, only a little surprise at how pretty the blood looked, like bright and endless ribbons that would never again be tied.
Well, that's certainly a nice piece of writing. This was our second Millar, and we have another lined up for a bit later. But first we may re-read The Talented Mr. Ripley, just to see if our memories are betraying us and Highsmith really isn't the better writer. But it isn't a competition anyway, is it? That defeats the entire point of reading for pleasure. Copyright on Beast in View is originally 1955, and this Bantam paperback edition came in '56 with Mitchell Hooks cover art.
|Vintage Pulp||Mar 21 2019|
Mitchell Hooks handles the cover work on this Gold Medal edition of the 1957 Tarn Scott thriller Don't Let Her Die. The book concerns a well connected prison inmate who uses his outside-the-walls contacts to kidnap the warden's daughter and maneuver for a pardon in exchange for her life. We say maneuver rather than demand because the convict keeps deniability throughout, claiming to know nothing even as the warden daily receives anonymous ultimatums, with a little extra motivation provided by photos of his terrified daughter nude. The warden caves pretty quickly, appeals to the governor for the pardon, is refused, and that's where things get interesting. There's more grit than usual here, but certain lines will not be crossed, and the reader is well aware of that, despite all the menace injected into the prose. Even so, Scott—a pseudonym used by Walter Szot and Peter G. Tarnor—certainly showed promise. Sadly, the pairing only produced a few books.
|Vintage Pulp||May 7 2018|
Fredric Brown's Madball was hard as hell to get at anything approaching a reasonable cost but we finally scored a copy. It's one of the more famous novels in the fertile carny niche, and had two amazing covers which you see above, the first by Griffith Foxley for the 1953 Dell edition, and the second by Mitchell Hooks for the 1962 Gold Medal edition. What's a madball? It's a gazing crystal. What's Madball about? After an insurance settlement a carnival worker comes into a couple of thousand bucks. When he's murdered his nest egg seems like the motive. But what nobody knows—or what nobody is supposed to know—is that he'd also been an accomplice in a bank robbery and possessed not just a couple of thousand dollars, but more than $40,000. That's about $380,000 in today's money—sufficient to inspire desperation and bloodthirsty viciousness. Madball is set apart by its weird backdrop, its odd carny denizens, its multi-pov narrative, and its sexual frankness. It's a mad tale, improbably plotted, testing the limits of believability, but recommended. See more carny fiction here, here, and here.
|Vintage Pulp||Jan 25 2018|
Only a unique talent could pull off something so jazzy. We were less impressed with his third novel The Crazy Kill—which was the first of his books we read—but with his award winning Imabelle we've gone back to the beginning of his Harlem cycle and he's got us hooked now, especially since he's actually written a conventional good guy. In The Crazy Kill there are few legitimately sympathetic characters, but in this one you can really root for poor overmatched Jackson. Himes' franchise detectives Coffin Ed and Gravedigger Jones also play significant roles, and in fact Imabelle contains the defining moment of Coffin Ed's career. The story is topped off by a chaotic action movie style climax that's both thrilling and appalling. The Fawcett Gold Medal paperback at top appeared in 1957, and a later reissue as A Rage in Harlem came in 1965. And then there's the movie. Maybe we'll talk about that later.
|Vintage Pulp||Jun 27 2017|
Non chiamate la polizia would translate as Don't Call the Police, a title chosen because that's exactly what doesn't happen. A Chicago businessman gets out of the shower to find his mistress dead, and he doesn't call the cops, instead relying on a private investigator named—wait for it—Barr Breed. That's one of the better names. This was published by Arnoldo Mondadori Editore for its Biblioteca Economica collection, and it's from 1955 and was written by Bill S. Ballinger, aka Frederic Freyer, aka B.X. Sanborn, aka Barr Breed. Actually, strike that last one. We just wanted to say it again. The book originally appeared in 1948 in the U.S., where it had another precisely descriptive title—The Corpse in the Bed. The art for Signet by Mitchell Hooks was excellent, and you see that below. We'll have more from Hooks later.
|Vintage Pulp||Oct 1 2016|
Written by The Gordons, who were the tandem of spouses Gordon Gordon and Mildred Gordon, FBI Story follows Agent John Ripley as he investigates the disappearance of a woman named Genie. She's wanted for theft by the FBI, and by the Los Angeles police as a person of interest in a murder case. Ripley finds that he and the missing woman have a lot in common, a fact revealed by his perusal of her bookshelf and diary. Is she really a criminal or just a desperate woman in deep trouble? As the investigation unfolds and the search spans the entire United States, we learn that other people are after her, including a millionaire American fascist who looks like Hitler and rants about the master race. Eventually Ripley uncovers jewel thievery, treason, and the mysterious Genie herself.
|Vintage Pulp||Aug 12 2016|
|Vintage Pulp||Aug 1 2016|
|Vintage Pulp||Apr 30 2016|
|Vintage Pulp||Apr 29 2016|
Paula is another southern sin novel—i.e. set in a decadent, overheated south where sex and greed combine to produce deadly results. This one follows an oil worker who goes to work for an impotent millionaire and his young hottie of a wife—the eponymous Paula. Hero gets hottie pregnant and murder must follow, but it’s after the killing that things really begin to fall apart, and in unpredictable ways. You know the basic idea because you read it in James M. Cain’s The Postman Always Rings Twice and “Double Indemnity.” Though the cover art from Mitchell Hooks doesn’t specifically invoke a southern mood, it’s really quite nice, especially how the robe is rendered in a style that verges on calligraphy, complimenting the edges of the mirror, and how the reflection in the glass is red, revealing the fiery intensity beneath Paula's cool exterior. Nice touch. You can see a couple more Hooks pieces here and here.