For every job there's a perfect tool.
In Ed Lacy's 1961 boxing drama The Big Fix, the fix is defnitely in, and in the worst way possible. Tommy Cork, a thirty-something middleweight boxer who in his prime battled Sugar Ray Robinson, becomes the pet project of a dilletante boxing manager who promises that with the best training, diet, and promotion Cork can reach the top again. Sounds good, but Tommy has unwittingly become the focus of a deadly scam, a plan to find some desperate boxer with a reputation for ugly losses, make a show of training him for high profile bouts, all the while taking out a life insurance policy on him, then having a hammerfisted accomplice kill him in the ring. Since the murder will happen before a crowd, there will be no suspicion of foul play, particularly for a pug known for fighting stubbornly and hitting the canvas hard.
But nothing is straightforward in Lacy's hands. Tommy's wife May, hopeful for a better life, gets into trouble with violent numbers runners, an aspiring writer sees the couple as the perfect pathetic characters to be the focus of a novel, an ex-boxer cop starts to get wise to the murder scheme, and other twists come from nowhere to infinitely complicate the tale. Despite the subplots, as readers you know the only fitting climax is one that takes place in the ring, and Lacy pushes the story inexorably toward that showdown, hapless Tommy facing off against a man who plans to kill him with a relentless assault, or if possible a single blow. If he's going to have help, he'll need to provide it himself. As usual, Lacy tells a good story. He's reliably full of excellent ideas. That also goes for Ernest Chiriacka, who painted the eye-catching cover.
The CDC says we should stay at least six feet apart, but baby, my lips can't reach that far.
CDC, our many non-U.S. readers may need to know, stands for the Centers for Disease Control, and while maybe it's not in the best taste to kid about coronavirus, when did taste ever matter us? There's virus all over the place where we live, but luckily we don't have to leave our place, which is the benefit of having weeks of food in the larder and your entire work life online. Our last foray outside was for PSGP's birthday party last Saturday, for which we made lots of hand sanitizer out of aloe gel, anti-microbial lavender oil, and vodka. These props were intended as a little joke, but our ulterior motive was to remind everyone to take the precautions recommended by health authorities. We predicted that night would be the last hurrah around here for a while and we were right, as now schools, sporting events, and other gatherings of people have been restricted. We're glad we had one last get-together before those changes came, and so far—fingers crossed—all fifty or so people that showed up seem to be fine.
Other people who are getting in a last get-together are the couple on this cover of Len Zinberg's Strange Desires, originally published in 1946 as What D'ya Know for Sure. This great piece was painted for Avon's 1949 edition by Ann Cantor, who we've featured several times, including on Maurice Leblanc's Wanton Venus, one of our personal favorites. Zinberg was the real name of prolific U.S. author Ed Lacy, whose boxing opus Go for the Body we just talked about last week. No boxing in this one, unless clinches count. This is about Hollywood, making movies, industry ambition, redemption for the damaged, and those sorts of things. Just like in Go for the Body the narrative makes a surprising turn near the end, and just like in The Woman Aroused, the story hinges on a disturbed femme fatale. Like we said‚ Zinberg/Lacy was prolific, which we guess means he borrowed from himself occasionally. We should know—we've been borrowing from ourselves here for twelve years. More Zinberg/Lacy coming soon.
Oh, I plan to go for his body, alright. Particularly below the belt. I hope he plans the same for mine.
Ed Lacy is a fascinating writer, a fearless conceptualizer who sought unique angles for his vivid, often racially charged tales. His 1954 novel Go for the Body is a story of amazing imagination dealing with an ex-boxer and would-be promotor named Ken Francine who runs across a black American boxer in Paris. Francine already knows this other boxer, Bud Stewart, from Stateside. In fact, Stewart was the reason Francine retired, a decision brought on by a brutal ass-whipping that exposed his deficiencies in the ring. Now, years later in Paris, Francine sees an opportunity for profit, and begins pushing Stewart up the ladder in the European fight racket. The text on the cover art is deceptive. The book isn't really about the love story, “DIFFERENT” or otherwise, between Stewart and his beautiful wife. It's about Francine, local politics, the dirty work of promoting boxers, and murder.
In the hands of a brilliant writer this could have been an all-time classic. Don't get us wrong—it's still enjoyable. Lacy evokes the atmosphere of Paris effortlessly by sharing minute details. He never crosses the line into travelogue. A quip about the trendiness and expense of Perrier followed by a local's aside that the pipes in European cities weren't always great is enough to plant the idea in the reader's head that fizzy bottled water became popular because it was known to be clean. Another example is how Lacy doesn't bother to describe any of the geography or people of Champs-Élysées, but simply notes that you see big American cars there. He makes clever choices like these throughout Go for the Body, never taking the obvious route, instead relying on readers' ingrained knowledge of Paris from popular culture to fill in the blanks.
His plot does the same. There are few obvious turns. Guessing which direction the narrative will go will likely prove fruitless. Of course, certain aspects are required, such as the Parisian flavor, the post-war malaise, and the nostalgia for a lost love. And naturally, boxing novels nearly always lead up to a big fight, and this one does too, in Milan, Italy. But there's far more on the line in that final bout than any reader could possibly suspect when the book begins. That's the main reason we give Go for the Body a thumbs up—its scope. Lacy is no Faulkner or Malamud, and his main character Ken Francine is confoundingly slow-witted at times (as an ex-fighter who was literally beaten into retirement it's possible he's not supposed to be very bright), but the tale delivers a solid punch. It may not knock you for a loop, but in the end the decision goes in its favor.
In the naked city there are a million reasons to kill and die.
In Dead End two crooked cops end up with a million dollars in dirty money and decide to ditch their jobs and flee the country. But their law enforcement colleagues are after them, so first they hole up in an old Prohibition hideout to let the heat dissipate. How long will they stay in this little room? As long as it takes. The older cop Doc suggests months. The younger cop Bucky is going crazy in days. You know for a certaintly that this partnership isn't going to end well. Lacy is up and down as a writer but this is him on the upswing. Originally published as Be Careful How You Live in 1959, this Pyramid paperback appeared in 1960 with cover art by Ernest Chiriacka.
I love fire escapes. I don't know if they've saved many lives, but they've helped me ruin quite a few.
Above is another cover for Ed Lacy's breakthrough detective thriller Room To Swing, with the hero lurking on a fire escape. They should change the names of those things, considering how often they're used for things other than escaping fires. The art here is by an unknown, and like the previous cover (though we didn't point it out at the time) shows a white detective. Or one that can be taken for white. But the main character Toussaint Marcus Moore is black. In fact he's so dark even his girlfriend gives him a hard time about it. Clearly both publishing companies knew the book would sell fewer copies with an identifiably black cover star. The whitewash is an ironic side note to a book that directly discusses racism, but mid-century book covers, even those having nothing to do with race, often deceived consumers, so this is not an anomaly. Both covers are high quality art pieces. See the other one here.
A Harlem detective learns the rules of engagement in pre-civil rights America.
Ed Lacy is credited by many as having created the first African American detective, Harlem gumshoe Toussaint Marcus Moore. Room to Swing is the novel in which this uniquely named character debuted. The set-up for the plot is also unique. The producer of an unsolved crimes television show called You—Detective! has located a fugitive she wants to arrest on air. She hires Toussaint to keep an eye on this ratings goldmine and make sure he's still around when she and her film crew are ready to spring their trap. Sounds simple, but in 1958 a black detective following a white man 24/7 will run into problems, considering he can't safely go to all the same places. Hell, he couldn't comfortably go to all the same places even today.
And if being a cop magnet isn't bad enough for Toussaint, having a white woman as a client is even more problematic, since they can barely be seen in public together. This is true even in New York and Ohio, where the action takes place. Although the northern U.S. was not part of the Jim Crow system, outside of large cities apartheid generally reigned. Small town Ohio is no different from Alabama for Toussaint. Even getting lunch or using a pay phone is often difficult. Speaking to a white man without calling him “Sir” generally leads to trouble, and being referred to as “boy” in return is standard practice. All of which raises the question: Why did this deep-pocketed producer hire a black detective at all? She has her reasons.
Room to Swing won Lacy the coveted Edgar Award, though we wouldn't say the book is brilliantly written. But it takes readers into fresh territory for a detective novel, and Toussaint is portrayed humanistically and empathetically. The book exemplifies the idea that it's possible for anybody to write about anybody else, regardless of race. Unfortunately, it wasn't a luxury that was often afforded to any but white writers back then, but it certainly should have been. All sorts of insights might have been possible. Room to Swing has plenty of those, and if you can find this Pyramid paperback edition with Robert Maguire cover art, all the better.
Stop playing hard to get! I just want to make sweet love to you!
The Woman Aroused tells the story of a man who allows a confused and mysterious woman to stay with him, then finds he can't get her out of his apartment. He basically can't even get her off his sofa. The woman calls herself Lee, but that isn't her real name. She has no family, no friends, no past. She has a strange accent that hints at origins somewhere in Europe, but conversely she has an American flag tattoo on her forearm.
It emerges that Lee is short for “liebchen,” a nickname from when she was a worker and sex slave in a Polish concentration camp. The tattoo is a cover-up for her Nazi serial number. But even after these discoveries the issue remains how to get rid of her. The narrator is no match for her physically because she's six feet tall and labor hardened, he has limited hope of outsmarting her, and due to complications he can't involve the police. Quite a pickle, and quite an inversion of the usual male-female relationship found in mid-century fiction.
Ed Lacey, aka Ed Lacy, née Leonard Zinberg is not a polished writer, at least not working under this pseudonym, but he certainly dreams up thought provoking tales. This one is just weird enough to sustain interest throughout its short length. The cover on this Avon edition, which gives vivid form to the physical turning of the tables depicted in the narrative, is by famed pin-up artist William Randall, aka Bill Randall, and the copyright is 1951.
Okay, who am I now? I'm you—when you got shitfaced last Friday, couldn't get it up, then barfed and passed out.
The woman on the cover of Ed Lacy's, aka Leonard Zinberg's 1952 novel Sin in Their Blood is supposed to be dead, but we kind of like our alternate interpretation that she's clowning around. Whether dead or joking, though, based on the art you'd never guess the book is about a rightwing organization extorting a black man who's passing as white—thus the sin in his blood—but that's exactly what's at the crux of this tale. Lacy, who was white, dealt with African American issues quite a lot. He's actually credited by some with inventing the first black private eye—Toussaint Marcus Moore. The first Moore novel, 1957's Room To Swing, won an Edgar Award—crime fiction's top honor.
African American subject matter was important to Lacy. From the earliest years of his career he explored racial issues, for instance in 1940's Walk Hard—Talk Loud, which is about a black prizefighter. During the 1950s he was married to a black woman and lived in Harlem, so he was always writing what he observed personally. Harlem is where he blossomed as a writer, where he lived much of his life, and where he died in 1968. Today Lacy is remembered as an important contributor to crime fiction, and we recommend his work. As a side note, the above cover would have fit perfectly into this collection, one of the most interesting groups we've shared over years, we think. And for good measure you can see another in the same style here.
Silly boys. I wonder if they'd be fighting if they knew that no matter who wins I'm going to lei them both.
This cover for Ed Lacy's 1960 novel South Pacific Affair makes us suspect artist George Ziel was thinking along the same lines as us—i.e. it's interesting that he painted the island woman with two leis around her neck. Here's a fun fact: while we know several people, us included, who've come to the physical defense of women in danger, we don't know a single man who's ever fought due to romantic rivalry. We asked around. Nobody admitted to it. Is it generational? Every woman we know would stop this fight in its tracks with: “Hey! Idiots! I'm not a 24-pack of Coors! I choose, and it's neither of you!” But the cover misleads, as they sometimes do. There's no literal fight over a woman. There's a fight over a sexual betrayal, but the catalyst is years in the past and 7,000 miles away.
We've read a few Ed Lacy books, and all of them have been about crime and graft in urban settings. South Pacific Affair expands his field of interests to the classic fantasy of life in paradise. Ray Jundson is an American living on the fictional French Polynesian island of Numaga who can't see the beauty of his circumstances. He's torn between staying there, continuing to sail from island to island trading goods, and marrying his island sweetheart Ruita, or letting his wanderlust and desire for riches carry him away toward unknown solo adventures, possibly even back to the U.S. Frankly, for a man with everything he's way too jaded for realism, but you have to follow the author's lead.
We don't know if Lacy ever went to French Polynesia, but the details read as if he did. That's good, because other than travelogue, nudity, and a lot of soul searching by Ray, nothing much happens in the book until, more than halfway through, a smallpox outbreak brings on a countrywide quarantine. One captain defies the law, sails from Papeete to Numaga, and tries to offload passengers, while downplaying the severity of the disease. That's on-the-nose for 2020, don't you think? Turns out he's actually trying to jettison a group of advanced cases and Ray is one of the people fate places in a position to stop this deadly maneuver.
This is Ray's first motivated act in the entire book, but fortunately not his last, which means the final third of the story gets interesting. Too bad that newly found motivation leads him to set up a scam involving a fake Polynesian princess, credulous American tourists, and the island equivalent of pimping. It may sound farfetched, but we can tell you from personal experience: spend enough time on a tropical island and anything can seem like a good idea. South Pacific Affair isn't Lacy at his best, but for knockaround guys like us, it was pleasantly familiar. Overall, we think it's worth reading for its unusual status in the Lacy bibliography. But we offer no guarantees.
The headlines that mattered yesteryear.
1985—Matt Munro Dies
English singer Matt Munro, who was one of the most popular entertainers on the international music scene during the 1960s and sang numerous hits, including the James Bond theme "From Russia with Love," dies from liver cancer at Cromwell Hospital, Kensington, London.
1958—Plane Crash Kills 8 Man U Players
British European Airways Flight 609 crashes attempting to take off from a slush-covered runway at Munich-Riem Airport in Munich, West Germany. On board the plane is the Manchester United football team, along with a number of supporters and journalists. 20 of the 44 people on board die in the crash.
1919—United Artists Is Launched
Actors Charlie Chaplin, Mary Pickford, Douglas Fairbanks, along with director D.W. Griffith, launch United Artists. Each holds a twenty percent stake, with the remaining percentage held by lawyer William Gibbs McAdoo. The company struggles for years, with Griffith soon dropping out, but eventually more partners are brought in and UA becomes a Hollywood powerhouse.
1958—U.S. Loses H-Bomb
A 7,600 pound nuclear weapon that comes to be known as the Tybee Bomb is lost by the U.S. Air Force off the coast of Savannah, Georgia, near Tybee Island. The bomb was jettisoned to save the aircrew during a practice exercise after the B-47 bomber carrying it collided in midair with an F-86 fighter plane. Following several unsuccessful searches, the bomb was presumed lost, and remains so today.
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