Commuters run to work after latest round of NYC budget cuts eliminates subway cars.
Andrew L. Stone may be unique in the realm of vintage literature. His 1958 thriller Cry Terror is a novelization of the film of the same name, which he wrote, directed, and co-produced. Cry Terror wasn't the first time Stone wore multiple hats. Two years earlier he had written and directed the thriller Julie, and written the novelization too. The screenplay earned him an Academy Award nomination. He racked up thirty-seven directorial credits during his career, and among his output was Stormy Weather, The Hard-Boiled Canary, Highway 301, Confidence Girl, and A Blueprint for Murder. He ended up with a star on the Hollywood Walk of Fame. Another reason we wanted to highlight Cry Terror today is because of the excellent cover art by Robert Maguire. It was modeled after a promo shot from the film of lead actress Inger Stevens. You see that below. We were thinking about buying the book, but digging up all this info has revealed the entire plot to us, so we won't bother. Also, the copies that are currently out there are going for fifty dollars and up. As we mentioned before, we don't go that high for anything we'd be tempted to swat flies with. Plus we have a ton of books piled up. We may watch the movie, though. Less time, less expense. If we do we'll report back.
Don't look at me that way. He was like this when I got here. I swear.
Above, a beautiful cover painted by Robert Maguire for Edgar Wallace's mystery Four Square Jane, originally published in 1929, with this Digit Books edition appearing in 1962. This one is short and fun. Someone known as Four Square Jane is executing clever heists against the rich all around London, and Chief Superintendent Peter Dawes is put on her trail. The only clues are a card Jane leaves at the crime scenes, each bearing her personal sigil. Dawes soon realizes that one person in particular seems to be financially damaged by the thefts, and when murder enters the mix, the stakes mount. This is an excellent classical style mystery from Wallace with a proto-feminist angle. The art here is a re-usage of Maguire's cover for Henry Kane's 1960 novel Private Eyeful, which you can see at the top of this collection of women standing over dead or dying men.
*sigh* And to think I used to drink coffee in the morning.
Above, a Robert Maguire cover for Robert W. Taylor's The Glitter and the Greed, 1955, from Gold Medal Books. Thankfully, we've had few mornings like this, but if we go into another quarantine, it might become routine.
While part of me believes your claim that you're an A+ in bed, another part of me is skeptical because you're a consistent D in class.
It's sleaze so nice they published it twice. The 1960s was the heyday of student/teacher sleaze novel, but even in that receptive era Babette Hall's The Professor and the Co-Ed must have sold especially well to warrant a new run. Hall really deserves credit because, amazingly, this was even published a third time—way back in 1946 as Last Night When We Were Young. 1946 books weren't terribly daring on the whole, so it's safe to assume this isn't sleaze at all, but a deliberately misleading rebranding, greatly helped by art from Robert Maguire at top, and an unknown on book two. The copyright is 1963 and 1967 on these.
If I'd known being a virgin would lead to this I'd have considered that proposition from my dad's fishing buddy.
Do people still make chastity pledges? Well, if the pledge is to a cruel Aztec jaguar god that wants you to serve as his bodily vessel, don't do it. The Living Idol, which explores that precise possibility, is a novelization of a 1957 movie of the same name starring Liliane Montevecchi. We discussed it a while back. The novel came from Signet with Robert Maguire on the cover chores, and we've seen copyrights of 1956 on this, so it may have preceded the film as a means of generating interest. You can find out everything you need to know about the book by reading our bit on the movie 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.
Well, I notice at least part of you is getting happier.
It's hard to stay mad with someone else's tongue in your mouth. Ever notice that? The principle is amply demonstrated on this brilliant cover for Edward Mannix's 1960 thriller The End of Fury. Put this one in the mean-streets-of-NYC bin, even though the action mostly takes place in Jersey City. The story deals with the Boyles, an Irish family of five—a hard drinking father, an emotionally wrecked mother, a widely desired daughter, and two sons, one a priest in training, the other this rebel with a stripper girlfriend you see on the cover. The priest/heretic brothers may seem like clichés today, but Mannix helped popularize the motif, with even The New York Times calling him a highly skilled writer. Interestingly, he was also a voice actor, dubbing dialogue for at least nine films from the early ’70s to the early ’90s. The art on this is by Robert Maguire and we think it's one of his best.
You're damned picky all of a sudden for a dame I found dumpster diving behind White Castle.
Alley Girl has some of the harder boiled characters we've come across in mid-century fiction. We're reminded a bit of James Ellroy, whom we suspect must have read and been influenced by this book. The style of author Jonathan Craig, aka Frank E. Smith, is not similar to Ellroy's, but the feel is a match. The lead male Steven Lambert is a crooked cop, a sexual predator, and a serial swindler. His girlfriend is a hardcore drunk, a nymphomaniac, and a self-destructive thrill seeker. Most everyone else is a victim or a dupe, particularly the innocent man Lambert is framing for murder, and the man's beautiful wife who Lambert coerces into sex by promising not to go through with the frame-up. We throughly enjoyed this book. It's anchored by just the sort of irredeemable heel that makes crime fiction so entertaining. The only problem is a 1954 edition from Lion like you see here could cost you a fortune. The 2013 re-issue, which comes from Black Curtain Press—but without the excellent cover art from Robert Maguire—is much more economical. We recommend reading it in any case.
Nothing's funny, really. I just can't help laughing about how utterly screwed we are.
Gulf Coast Girl is more solid aquatic themed work from Charles Williams. This time the story involves a woman who seeks help from a crack salvage diver in finding a small plane that crashed in the Gulf of Mexico with a fortune on board. The story has a framing device—the boat they use for their salvage operation is found abandoned and the only clue to their whereabouts is a diary. So the story is narrated by the captain of the rescue vessel, reading from the diary what happened to the protagonists. This frame seems unneeded for nearly the entire length of the book, but the always competent Williams shows late that this device is in no way extraneous. Nifty work. We're really ripping through Williams' catalog now. Originally published in hardback in 1955 as Scorpion Reef, these Dell paperback editions of Gulf Coast Girl appeared in 1955 and 1960 with cover art from Robert Maguire and Robert McGinnis.
Sorry about your face. My aim isn't so good with this thing.
Give a girl a whip and you'll find out who's the boss. Luisita is about a Mexican girl living in nowheresville whose beauty brings her both opportunities and problems. After a run of bad luck in her home town she moves to Los Angeles and eventually lands a job in a massage parlor. There she learns how depraved men really are, but also how easy they are to manipulate, and of course she uses to this new knowledge to try and get herself a piece of the pie. Basically, it's one of those books that's supposed to expose a shocking subculture, but it has the added bonus of pretending to offer insights about an entire ethnic group. However, the racism subplots are probably accurate. Loomis later went on to write House of Deceit and The Marina Street Girls. The excellent art on this is by Robert Maguire and the copyright is 1954.
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