|Vintage Pulp||Jan 30 2018|
There are more than a few gun toting insurance investigators in mid-century literature, and they tend to be as tough as any regular private eye or cop. In Cleve F. Adams' thriller What Price Murder insurance stud Steve McCloud is tasked with recovering a fortune in stolen diamonds insured by his company West Coast Indemnity. Along the way he deals with crooks, cops, and assorted women, including one named Kay Mercedes—which we think is one of the better handles for a femme fatale. Originally published in 1942, Popular Library issued this paperback version in 1952 with highly effective cover art by Sam Cherry.
|Vintage Pulp||Dec 20 2017|
The cover art isn't as much of a stretch as it often is with these pulped up versions. The guitar player is Melody Moss, a major character, and the woman is Anna, who in the narrative is a Mexican girl of fourteen, but is depicted as well above the age of consent here. It's a pretty nice piece of art, though by an unknown (Ray Johnson? Owen Kampen?). As for the actual fiction, it was neglected for decades but it's now considered a literary classic and Attaway is recognized as an important figure of the Black Chicago Renaissance. Fitting, because Attaway was a real Renaissance man. He stopped writing novels after Blood on the Forge and moved into music and writing screenplays for radio, films, and TV. In 1957 he published the Calypso Song Book, a compendium of tunes he had collected. He also wrote for Harry Belafonte, including the classic "Banana Boat Song (Day O).” By the end of his career he had penned over 500 songs. You have to be impressed.
|Vintage Pulp||Nov 26 2017|
|Vintage Pulp||Sep 9 2017|
The plot of the book is barely discernible, but partly involves a fishing boat and the various characters who covet it. Some want to fish in it, while others have more political aims that ultimately lead to deadly violence. The book worked for us not because of its plot, but because of its depiction of gringos cast adrift in Latin America. Despite the serious subject matter, Tallman's writing is ornate and often lighthearted. For example: “Ramirez, acquainted with the eellike elusiveness of this class of quarry, grabbed him by the most convenient handle, the baggy seat of his pants. There was an ominous sound of ripping fabric, and the disaster resulting was such that the poor witness, in all modesty, could not now walk upon the streets.”
Here's another nifty passage that gives an even better sense of Tallman's style: “Had a goddess leaped forth from the limpid, luminous swells, he would not have been altogether astonished. What did leap forth was much more unlikely. A slim, small-breasted woman with a face like an ecstatic mask, legs as long as a fashion drawing, and with the graceful bather's especial gift of emerging from the water without seeming wet: this is what he saw before he realized it was Ella Praline, stark naked, running up the beach pursued by a naked boy who resembled a faun in more ways than one.” Pretty cool, that whole sequence, though it ends rather weirdly for poor Ella.
In fact the whole novel is weird, and while it takes its time coming together, it eventually reveals itself to be good entertainment for those who don't mind fiction that's more influenced by Graham Greene than by Dashiell Hammett. Also, it spoke to us on a personal level because, like Tallman, we threw caution to the wind and moved abroad—to Guatemala not Mexico. Tallman captures the drinking, the fighting, the skinny dipping, the random stupidity, the constant undercurrent of danger, the earthquakes and volcanic eruptions, the beautiful women who pass through for days or weeks to turn the town upside down, and, most of all, the odd personalities who think all of this is the best possible way to live. We count ourselves among them. Whatever else one thinks of Adios O'Shaughnessy it has the feel of the real thing.
|Vintage Pulp||Sep 2 2017|
I grabbed her by the arms and shook her. Her false teeth fell out and rolled across the carpet. [snip] I started into the parlour, but a thin man in shirtsleeves was in the way. I hit him and he went down. In the parlour the blonde who'd slugged me with the lamp began to scream. She thought I was coming for her. I went to the big radio in the corner. I picked it up, tearing out the plug, and tossed it across the room. It shattered against the wall. I kicked over a table with two lamps on it. I tore some of the fabric off a davenport. I threw a chair at a big oil painting over the fireplace. I took a metal stand lamp and bent it up like a pretzel. I pulled up the oriental rug and ripped it down the middle.
That's going berserk like you mean it. We won't bother with a long plot summary since you can find those all over the internet, but basically the protagonist is hired to spring a woman from a cult and finds himself neck deep in corpse worship, hidden treasure, police corruption, and sado-masochism. The book is reasonably well written, very hard boiled, and built around a set of unlikely characters—including a femme fatale known by all as “The Princess.” Great Pan published it in 1961, and it had an alternate cover which you also see here. It was re-issued several times after its debut—including by Popular Library as The Fifth Grave—which means it isn't hard to find. We recommend you give it a read.
|Vintage Pulp||Aug 29 2017|
Rudolph Belarski has some of the most recognizable artistic output of the mid-century period. This is his work on the front of the 1949 Popular Library edition of Elisabeth Sanxay Holding's The Death Wish, which first appeared in hardback in 1935. In the plot, it's actually two men wishing to be free of their marriages that starts all the trouble. The women are potential victims, though not wholly sympathetic ones. Do you wish you could read something convoluted and at times verging on the ridiculous? Congrats—this may be it. Still, it's a good book. Holding's rep as one of the top suspense writers of her period was deserved.
|Vintage Pulp||Aug 22 2017|
|Vintage Pulp||Aug 18 2017|
|Vintage Pulp||Apr 30 2017|
That look right there. That's the one you never want to see on someone's face, because even if they aren't actually going to kill you, they're for sure thinking about it. In Dana Chambers' Someday I'll Kill You, the heroine Lisa is targeted by a blackmailer who threatens to pin an accidental death on her as murder if she doesn't pony up a hundred grand. She summons help to her enclave in the Connecticut countryside in the form of a rugged pilot and former lover with the unlikely name Jim Steele. He's reluctant to get involved because Lisa jilted him after a Caribbean idyll and married a wealthy psychiatrist. But he can't resist—and really, how can he when asked by “a long-legged, slim-hipped Diana with—startlingly and unforgettably—the breasts of Venus.”? The story unfolds from his perspective—partly obscured by the aforementioned Venusian breasts—as blackmail leads to murder, first thought to be a case of mistaken identity, then understood to be part of the plan. Steele sets about trying to unravel the scheme and to somehow insert himself back into Lisa's bed. Chambers, aka Albert Leffingwell originally published this in hardback in 1939, with the Popular Library paperback edition you see above coming in ’53. There's considerable online debate about who painted the cover art, but for now it remains in the unknown bin.
|Vintage Pulp||Apr 28 2017|
In Evan Hunter's 1954 novel Don't Crowd Me an NYC advertising copywriter seeks tranquility in the lake region but instead finds himself encountering two sisters with very different temperaments who both seem to find him irresistible. Then, of course, there's a murder to spoil everything, and it looks like he's the only one who can solve it. The plot may sound improbable, but Hunter, born Salvatore Albert Lombino, was better known by his pseudonym Ed McBain, which means you would expect this to be decently written. And in fact you would be correct. The cover art, which is great, was painted by Walter Popp.