Devil's Manhunt by L. Ron Hubbard (western audiobook)

With Devil's Manhunt, author L. Ron Hubbard puts his own spin on the classic "most dangerous game" yarn." The title story first appeared in Famous Western magazine in February 1950, and this audio edition also contains the stories "Johnny, the Town Tamer" and "Stranger in Town."

After eight months of hard work, Tim Beckdolt struck gold in Desperation Peak, Arizona — 175,000 dollars' worth that took him more than three more months to gather up.

A life of leisure is in his direct future, until he's found by a Virginian aristocrat named Bonnet and his Swedish henchman, Sven. They know that the only way to all that money is through Tim's corpse, and Bonnet sees it as an opportunity for a little fun.

While the actor who plays Tim is fine, the performance of Bonnet truly disturbs. R.F. Daley once again delivers a powerful narration, and the only bad apple is Phil Proctor (fantastic in Shadows from Boot Hill), who plays Sven like one of his Firesign Theater characters.

One Night Stands and Lost Weekends: Early Stories by Lawrence Block (short stories and novellas)

May you, Dear Reader, like the tomcat who had the affair with the skunk, enjoy these stories as much as you can stand.

—Lawrence Block, from the introduction

In 1999, publisher Crippen & Landru released limited hardcover editions of the early short fiction of author Lawrence Block.  The short-story volume was entitled One Night Stands, and the novella collection was called The Lost Cases of Ed London.

Now, these two volumes have been combined into a single trade paperback with the provocative title One Night Stands and Lost Weekends. The title describes the average time it took to write the short stories and novellas, respectively.

Block begins One Night Stands and Lost Weekends with a self-deprecatingly humorous introduction where he tells why he changed his mind regarding his original decision — set down in the introduction (also included) to the preceding limited collectors' edition — to only release the stories to a limited audience. Basically that, upon reading the stories, no one called "rip off," so why not make a little more money off them?

While these stories obviously aren't to the level of Block's later work (a point he emphasizes in both introductions, practically going so far as to warn the reader away from them), they will still appeal to the author's fans.  His voice is already clear, and the humor and imagination glosses over any imperfections in craft.

Con man Dick Barron runs across an amateur playing "The Badger Game" — badly — and decides to go along with it and turn the tables, though he's a little too arrogant for his own good. Before reading this story, I had not heard of this con, and now references to it seem to keep popping up. Apparently it was a popular plot device during the period. The story is definitely of its time — the narrator speaks of "expensive" thirty-dollar shoes — but Block's skill at character makes this one of special appeal to fans of confidence tales like his The Girl with the Long Green Heart.

"The Bad Night" is a simple and unsurprising standoff between two young killers and their much older potential victim. The use of setting and dialogue goes a long way toward saving this one. "Bargain in Blood," originally published under the "Sheldon Lord" byline, has a simple message: the next time your other half wants you to prove your love, just hope she's not Rita. Block manages to put off the surprise nearly to the end here.

"Bride of Violence" is a very well executed piece of pure crime fiction with a twist that, if hard to condone, is completely the result of the actions of the story. "The Burning Fury" is another one of those stories of people who can't leave well enough alone.  Block's characterization is stunning, giving all the right information and still holding back a surprise.

Characterization is everything in "The Dope," since there's very little in the way of plot.  "A Fire in the Night" is an internal monologue of sorts with a twist that negates several factual statements from the story.  "Frozen Stiff" owes a debt to Roald Dahl, as the irony flows. (A nod to the master is given in the form of a leg of lamb.)  Another Sheldon Lord, "Just Window Shopping," shows remarkable insight into the mind of a voyeur who gets a surprise opportunity.

A quote usually misattributed to Confucius says that if rape is inevitable, just "Lie Back and Enjoy It." But then the tables are turned a little too cutely in this tale from 1958. (Read it online.)  "Look Death in the Eye" is reminiscent of Robert Bloch with its darkly funny and humorously gruesome Tales from the Crypt–style ending.  In "Man of Passion," a photographer on the run picks the wrong town to hide out in.

"Nor Iron Bars a Cage" is one of those tales where you just know there's going to be a twist that the whole story was conceived around, but still Block manages to surprise with his only attempt at science fiction. "Package Deal" concerns town tamer Lou Baron, Joe Milani, Albert Hallander, Mike Ross, Arlington Ohio, and a hit man with his own agenda.

A particular highlight is "Pseudo Identity." It is the tragic tale of a double life that goes awry when the two overlap in an unexpected way.  Block pulls us along a surprising route that ends in a karmic twist.  This is one of his best all around.

"Ride the White Horse" is a very dark tale of how one man's life changes for the better — and then for the worse — when his routine is disrupted. A little naive in its drug knowledge but very astute in drawing the primary relationship.  The overblown ending is the only real detriment.

Even after having so many twists and turns thrown at me, Block still managed to get another one right past me in "The Way to Power," a tale of a mob gunman who finally begins to think for himself.  Lenny Blake (not his real name), the protagonist of "You Can't Lose," offers advice for smart guys who don't like to work but like to stay flush with cash--as long as they're not into luxury.

The "Lost Weekends" portion contains three novellas featuring Block's first series P.I., Ed London.  The introduction to this volume is similar to the other.  In "The Naked and the Deadly," London meets his client's blackmailer, and on the way to do business the extortionist is mowed down by a Tommy gun.

Ed then fills us in on the backstory: he was hired by a secretive woman, a lawyer is looking for the woman, a cop is looking for the lawyer, and things go from there.  The novella gives London (and Block) the chance to ramble on a bit and impress us with his esoteric knowledge.

In "Stag Party Girl," the title character jumps out of a cake at a bachelor dinner and gets shot for her trouble. She'd been intimate with most of the attendees and was potentially blackmailing one or more.  This is an improvement on "The Naked and the Deadly," with London seeming to take his job more seriously.

Finally, in "Twin Call Girls," Ed gets an urgent call from a frightened woman.  But when he gets to the meeting he finds her dead.  When the girl subsequently turns up alive at his office, it's not hard to figure out what's going on.  (The title gives it away.) This is the darkest of the three, with Block delving into some of the seediest aspects of humanity, but always with enough heart to make it palatable.

Reading these solid detective novelettes, it's easy to see how Block would progress to his later detective series.  And readers hungry for more Ed London can find him in Coward's Kiss.

Readers seeking classic Block should keep searching. But I heartily recommend that readers of Block's Hard Case Crime reprints get a copy of One Night Stands and Lost Weekends.

Death Waits at Sundown by L. Ron Hubbard (pulp Western audiobook)

These days, L. Ron Hubbard's name is largely connected with the antics of the some of the more "outspoken" members of Scientology, overshadowing the fact that the man really knew how to tell an entertaining story. All 150 of the stories Hubbard wrote for the pulp magazines of the 1930s and '40s are being rereleased in paperback and audio under the evocative title Stories from the Golden Age.

The audiobooks are a professionally produced combination of traditional audiobooks, with narration deftly handled by actor R.F. Daley, and old-time radio, with skilled actors, genre-specific music, and sound effects.  Death Waits at Sundown contains three stories: the title tale, "Ride 'em Cowboy" and "The Boss of the Lazy B."

When a vigilante committee convicts young Frank Taylor of stage robbery, he is scheduled to hang at sundown. His brother Lynn tries to cast doubt on Frank's guilt by robbing the next coach himself -- with the help of the sheriff, whom the vigilantes ran out of office. This is an exciting listen that was first published in Street and Smith's venerable Western Story magazine in the fall of 1938.

"Ride 'em Cowboy" is easily filed under "ranch romance," so much that one would think it first appeared in the long-running pulp of the same name instead of a summer 1938 issue of Western Story. All his life "Long Tom" Branner has been developing his horsing skills in order to prove himself worthy of Vicky Steward. But Vicky is looking to prove herself, and nothing irks her more than competing and coming in second place to Long Tom. The lead actress in "Ride 'em Cowboy" is unfortunately a detriment to this audio, but the action-filled climax more than makes up for it.

All three of the stories dramatized in Death Waits at Sundown should appeal to fans of good old-fashioned Western pulp fiction, and even more so to those who have enjoyed the Western offerings of old-time radio.

Shadows from Boot Hill by L. Ron Hubbard (western multi-cast audiobook)

On the run from the law for the hired killing of a banker, Brazos asks livery man Whisper Monahan to help him out. Brazos had to light a shuck immediately after the murder and had been unable to collect his fee: $500 in double eagles.

Scotty Brant has been poisoning lands downstream by using cyanide to get gold from iron oxide, killing entire herds of sheep and allowing Whisper to buy thousands of acres on the cheap.  Whisper offers Brazos $200 to kill Brant, giving Brazos much-needed funds and simultaneously allowing Monahan to make good on his land investment.

Trouble is, it's going to take three deaths to get one, because to get Scotty, Brazos has to get through son Swifty Brant and the family jujuman, Bilbo.  But a lack of superstition and a silver cross given by a Mexican girl are no match for a curse spat out by a dying witch doctor.

A supernatural Western originally published in June 1940 in Wild West Weekly, Shadows from Boot Hill, and its ilk were a rarity in the days of the pulps.  But author L. Ron Hubbard once again shows his talent and imagination, and this audio version, directed by Tait Ruppert with Firesign Theater alumnus Phil Proctor playing Whisper Monahan and Scotty Brant, is bound to appeal to fans of both the "weird" and the traditional.

The audio of Shadows from Boot Hill also features two more Western stories Hubbard wrote in the 1940s, "Gunman!" and "The Gunner from Gehenna", both directed by Jim Meskimen performed with equal skill by the participants, including Proctor and Meskimen himself.

Sky Birds Dare! by L. Ron Hubbard (aviator pulp adventure audio)

I am continually impressed at the breadth of material produced by author L. Ron Hubbard during the second half of the 1930s. He wrote everything from Westerns and suspense to adventures of the air, sea, and foreign lands. First published in the September 1936 issue of Five Novels Monthly, Sky Birds Dare!, as its title suggests, centers around aviation.

Breeze Callahan is one of the best glider pilots around. Unfortunately, that doesn't mean much in the age of motors. Though Breeze's gliders would keep a plane in the air after its motor failed — and would be able to soar into enemy territory without a sound — the Navy is more interested in the training ships of Breeze's rival, Badger O'Dowell, for the war effort.

Breeze has to prove that his gliders are good enough, and that he is good enough for the hand of Patty Donegan (his designer's daughter) — who has recently taken a shine to sailors — even if he has to crash and burn to do it.

As is fairly common in Hubbard's fiction, narration carries the day over dialogue in Sky Birds Dare!, allowing the author to display the extensive knowledge he seems to have gleaned from his time as president of the George Washington University Glider Club. (The promotional materials from Galaxy Audio often emphasize how much of Hubbard's verisimilitude came from personal experience.)

Regular narrator R.F. Daley once again puts his all into delivering the power of the words. And some of Hubbard's most effective prose is in Sky Birds Dare! — during the soar in chapter 3. Every detail is painted from the POV of the cockpit, first the exhilaration of flying, then when things start to go wrong, the fear and rush of thoughts. I felt like I was in the glider with Breeze, and that's precisely what I want from escapist fiction.

Zenith Rand, Planet Vigilante by Richard Tooker (pulp sci-fi adventure short stories)

Richard Tooker was obviously meant to tell stories of adventure. Born in 1902, Tooker's father's family were sea captains, soldiers, and adventurers. The storytelling part came from his mother, who knew the author of the classic adventure Alice of Old Vincennes. Tooker published his first story at the age of 15, then after finishing school, worked as an editor and reporter and was enlisted in the Marines. He felt that his life contained parallels with Jack London's Martin Eden and published his first novel, The Day of the Brown Horde, in 1929 (from whose dustjacket the substance of this paragraph comes).

Tooker's skill at writing cracking sci-fi adventure is well evidenced by Black Dog Books' collection of the three longish stories featuring his hero Zenith Rand, as published in three consecutive issues (June, August, and October 1936) of Mystery Adventure Magazine. Zenith Rand, Planet Vigilante contains the title inaugural tale plus two others, "Revenge on Scylla" and "Angels of Oorn" (the source of the book's appealing cover illustration).

"Zenith" (whose given name is never revealed) was named by his fellow Terran Spacemen for his "indomitable fighting spirit" in the midst of playing "sky-the-limit stakes in the grim game of stellar conquest and exploration" (zenith, of course, being the sky's own upper limit). Nevertheless, Rand has a weakness, and her name is Sandra Yates.

As we discover in "Zenith Rand, Planet Vigilante," the first of the trilogy, Pilotess Yates — a Valkyr Amazon — broke Rand's heart (or perhaps merely bruised his pride) when she chose another over him. It was, in fact, this event that led him to choose the distant post on Camia, moon of Orthos, and subsequently necessitated Yates's arrival just in time to save Rand from the Camian goat-women. O, sweet irony!

In addition to the color art by Norman Saunders found on the Zenith Rand, Planet Vigilante's front and back covers (from the very issues in which the first and third stories appeared), Black Dog Books publisher Tom Roberts has also included the black-and-white illustrations (uncredited and unknown) that accompanied the stories' first appearances inside the magazines. In doing this, Roberts has done his best to replicate the original reading experience as closely as possible while offering a cleaner presentation of the text.

"Revenge on Scylla" finds Zenith on the titular "somber sphere ... on the fringe of Altair's Titan gravity" in a search for Sandra among the slime seas. Since the events of their previous outing, Yates and Rand became "mates for life" (something involving having "simply signed the book" — no marriages for these even-steven fiftieth-century Terran couples), much to the chagrin of "Death" Lamson, Rand's supernumerary on this rescue mission to reclaim Yates from the half-snake Scyllans. If that's not enough to deal with, the group will also face betrayal from their own side.

Tooker's prose is not the most accessible. Several sentences required a second or third reading to completely suss out their meaning. But the author definitely understands action, and the writing in Zenith Rand, Planet Vigilante improves with each story.

"Angels of Oorn" posits Zenith Rand on the titular moon of Procyon, required to (once again) save Mate Yates from its denizens, highly unsavory despite their epithet ("Zenith snorted derisively ... 'If you Oornites are angels, I'm Mercury's half-brother'"). This story is definitely the most interesting, with the threat coming not only in physical form but also mental, as a directed gaze from the hypnotic, shape-shifting Oornites can kill, and even a mere glance can incapacitate or madden.

This last story engenders an appetite for further adventures, but there are only these three, for whatever reason (there is no background explanatory material included). Nevertheless, Zenith Rand, Planet Vigilante offers a chance to read these pioneering spicy pulp sci-fi adventure stories that would otherwise have been lost to the casual enthusiast.

A Princess of Mars by Edgar Rice Burroughs (first of the Barsoom / John Carter series)

Former Confederate captain John Carter, left with no means of income after the war, heads to Arizona and strikes a quartz mine. Trying to rescue his partner from Apaches, Carter takes a wrong turn and comes to a cave, in which he finds a large room, where he is overthrown by a paralytic gas. With a supreme effort, he attempts to move his muscles, but instead his spirit/soul/whatever leaves his body, and he thus exits the cave completely naked. Staring out at the night sky, Carter sees the planet Mars and feels called to by the god of war. He reaches out his arms, senses cold and darkness, and opens his eyes "upon a strange and weird landscape. I knew that I was on Mars."

If you can get past that extreme leap of faith, the rest of A Princess of Mars is pretty easy to stomach. Author Edgar Rice Burroughs (author also of the numerous Tarzan stories) peoples his debut novel (expanded from the short story "Under the Moons of Mars" and serialized in All-Story before being published as a novel in 1919) with characters that are easy to identify with, though they happen to be green-skinned Martians. Though I had long heard of the stories, I was first intrigued to try this one due to its being listed in the Encyclopedia of Weird Westerns, which stated that it falls firmly into the subcategory of Space Western (the same category under which Star Wars falls).

It was primarily this, but also the fact that I had enjoyed Tarzan when I read it so long ago, that led me to seek it out — preferably in audio, through which I do most of my literary experimentation. I found the Books In Motion audio at the library. Jack Sondericker reads A Princess of Mars from the perspective of time, much as the early part of the novel suggests. His voice is that of an man much older than the protagonist, leading a semblance of retrospective realism to this fantastic tale. (The Librivox audio is also a solid interpretation, with Mark Nelson offering a professional-quality reading that can be downloaded for free.)

Because of the lighter gravity of Mars ("Barsoom" to the locals), Carter finds himself a superman among his new neighbors, able to leap 30 feet in the air and 100 feet away when threatened. The early chapters of A Princess of Mars are mostly given to writing of the expository sort, involving Carter's observations of the strange details of Martian life, peppered throughout with feats of his prowess, which impresses the seemingly unemotional Martians in the only way important to them. Carter even becomes a chieftain of the Tharks after defeating one of them.

I don't usually get into books filled with made-up names and long descriptions of the differences between Earth and whatever planet the story happens to be set on, but Burroughs manages to make it interesting through sheer imagination, with just enough things not so different to balance the very different. A Princess of Mars is such a mythic success at this, it is impossible not to get involved in the exploits of John Carter and the female prisoner he comes across, who looks very different from the green-skinned Martians and who turns out to be Dejah Thoris, red-skinned princess of Helium.

The rest of the book involves the duo's escape from Thark, as they fall for each other, get separated, then reunited, and eventually make a go of it. The ending would be a downer if I didn't know that there are numerous sequels, the first of which is The Gods of Mars. But if you're looking for a full reading experience, with plenty of action, adventure, and even romance, you'd do well to pick up a copy of A Princess of Mars.

The Baron of Coyote River by L. Ron Hubbard (unabridged Western audio book)

These days, L. Ron Hubbard's name is largely connected with the antics of the some of the more "outspoken" members of Scientology, overshadowing the fact that the man really knew how to tell an entertaining story. All 150 of the stories Hubbard wrote for the pulp magazines of the 1930s and '40s are being rereleased in paperback and audio under the evocative title Stories from the Golden Age.

The audiobooks are a professionally produced combination of traditional audiobooks, with narration deftly handled by actor R.F. Daley, and old-time radio, with skilled actors, genre-specific music, and sound effects. The Baron of Coyote River contains two stories: the title work and "Reign of the Gila Monster."

In "The Baron of Coyote River" (originally published in All Western in September 1936), Lance Gordon is an outlaw with a price on his head and a chip on his shoulder. He's wanted for the revenge murder of his father's killer, McCloud, and he's tired of running. So, when he's faced with capture by Captain Anderson of the U.S. Cavalry, he decides to go down fighting.

A local man named Tyler admires Gordon's sand and gives him a chance to escape. Holding off the cavalry temporarily, Tyler gives Gordon a horse and a destination: "the Coyote River this time tomorrow." But Tyler isn't risking Anderson's wrath for his health; he's got a job for Gordon: infiltrate the 3B Ranch, stomping grounds of the mysterious cattle rustler known as the Baron, and report back. (Tyler was rather attached to his cows.)

Author L. Ron Hubbard adds welcome touches of humor to this story of a fight against frontier injustice. A particular highlight is when Tyler (played by Fred Tatasciore), spouts off a long-winded telegram while holding off gunfire from his pursuers as Gordon frantically writes it all down. Also, the great pacing of director Jim Meskimen and realistic sound effects put the listener right in the middle of a stampede, adding to the suspense already created by Hubbard's sharp descriptions.

Martin Yurchak takes an unusual tack and hardly plays Gordon as a hero; his performance is, in fact, quite reminiscent of Shaun Duke's villainous Charley Pearson in Six-Gun Caballero. Also, as in that book, some timely government paperwork saves the day in "The Baron of Coyote River," though not in quite as satisfying a manner.

In a change of pace from other audiobooks in the Stories from the Golden Age series, actor Bruce Boxleitner handles narration duties on "Reign of the Gila Monster," the second story contained in The Baron of Coyote River audiobook. (Listeners may remember Boxleitner from Scarecrow and Mrs. King or Babylon 5 but may not know he is also the author of the sci-fi Western Frontier Earth.)

Regular listeners may miss R.F. Daley's solid presence, but Boxleitner's slightly raspy tone is an effective substitute, offering another perspective on the narration. In fact, Boxleitner may be a mite more accessible, sounding somewhat like a favorite uncle telling the story.

A seven-foot-two jasper named Gilman (locally known as the Gila Monster) terrorizes Powderville from the marshal's seat: no drinking, gambling, spitting, or freeloading. Town founder Howdy Johnson (who intended Powderville to be the "mecca of the trail") takes action against the oversized superman because "even Hannibal had his Waterloo."

Hubbard shows his flair for the tall tale in "Reign of the Gila Monster" (originally published in Western Aces in September 1937) especially in his increasingly outrageous descriptions of the title character: "His hat ... looked bigger than an umbrella." "He had once stepped on [a] hound dog, and ... not even an inch of the animal's tail was visible." "He could take a bottle of whiskey in his hand, close his finger, and say, 'Which one have I got it in?'" This must have taxed even Hubbard's considerable skill for hyperbole.

Fred Tatasciore voices Gilman with the appropriate resonance and power, and subtlety is not called for with a character whose quietest tone can still be heard at the city limits. Prolific character actor Martin Kove (the Karate Kid trilogy and over 100 other movies) plays Howdy Johnson with just the right balance of "civic pride" and vice protection. It is a welcome departure from the traditional Western, this twist on the norm, with the villain fighting for "good" and the hero trying to keep the "bad" status quo.

I found both stories in The Baron of Coyote River to be highly entertaining, though they have very different approaches, with "Reign of the Gila Monster" probably in the lead just due to its novel take on the Western. Both, however, will entertain pulp fiction fans, and especially those of us who enjoy a good audiobook.

Dead Men Kill by L. Ron Hubbard (unabridged zombie thriller audio book)

L. Ron Hubbard is probably best known as the founder of Scientology and creator of Dianetics. These days, his name is largely connected with the antics of the some of the more "outspoken" members of the religion, overshadowing the fact that the man really knew how to tell an entertaining story. All 150 of the stories Hubbard wrote for the pulp magazines of the 1930s and '40s are being rereleased in paperback and audio under the evocative title Stories from the Golden Age.

The recordings I've tried so far are just terrific. They are a professionally produced combination of traditional narrated audiobooks (with narration deftly handled by R.F. Daley) and old-time radio, with skilled actors playing the characters (often multiple roles) and genre-specific music and sound effects rounding out the experience.

"I have come to kill you, Gordon."

So says a voice reminiscent of the grave, as its fingers wrap around Gordon's throat and slowly take his life. Detective Sergeant Terry Lane arrives on the scene and notes the similarity with another recent murder. All the evidence points to a no-longer-assailant, and Lane's fears are confirmed when he uncovers the suspect's empty coffin and has to fight off a trio of expressionless figures with only his fists.

For a while, Lane has only questions, like how do a letter from "Loup-Garou," a Haitian pharmacy bill, and the mysterious Dr. Leroux tie in to the murders? The primary targets seem to be rich and influential businessmen, but if Lane doesn't find out who's responsible and stop the culprit, the next zombie will be him.

Matt Scott turns in a solid performance as the ultranoble Lane, and John Mariano plays the mad scientist with relish (complete with a selection of diabolical laughs). But the real star of the Dead Men Kill audiobook is narrator R.F. Daley.

Author L. Ron Hubbard's prose is heavy on description, and Daley is more than up to the task. His voice is perfect for pulp fiction, and he adds just the right touch of emphasis (along with the occasional wink where appropriate) without drawing attention away from the story.

Dead Men Kill is the only zombie horror story Hubbard wrote, and the author succeeds by presenting this questionable subject in a realistic manner. He doesn't try to overexplain, but simply focuses on keeping up the story's quick pace (so we don't think about it too much). Its focus on the Haitian voodoo aspects should appeal to fans of more recent takes on the same subject, such as Douglas Preston and Lincoln Child's novel Cemetery Dance.

Under the Diehard Brand by L. Ron Hubbard (Western short stories audio book)

L. Ron Hubbard is probably best known as the founder of Scientology and creator of Dianetics. These days, his name is largely connected with the antics of the some of the more "outspoken" members of the religion, overshadowing the fact that the man really knew how to tell an entertaining story.

Pulp fiction fans rejoice, because there's a "new" voice on the block that deserves to be noticed. All 150 of the stories Hubbard wrote for the pulp magazines of the 1930s and '40s are being rereleased in paperback and audio under the evocative title Stories from the Golden Age.

The recordings I've tried so far are just terrific. They are a professionally produced combination of traditional narrated audiobooks (with narration deftly handled by R.F. Daley) and old-time radio, with actors playing the characters (often multiple roles) and genre-specific music and sound effects rounding out the experience.

Under the Diehard Brand is actually a collection of three short stories. In the title story (originally published in Western Aces in March 1938), Lee Thompson attempts to reunite with his father "Diehard" Thompson, the sheriff of Wolf River, Montana. But when Lee doesn't get the homecoming he's looking for, he gets involved with Holy George Gates by besting his foreman Anvil Bores in a fistfight.

Diehard thinks Holy George is behind a string of murders and stampedes, but the local businessmen appreciate the money Holy George brings into town via his large beef-cattle contracts — even if Diehard is sure it's blood money. They also think Diehard is getting old and going easy on the "real" criminals. (Rheumatism has slowed his gun hand to where he is afraid to use it.)

Corey Burton's vocal performance as Holy George is highly reminiscent of Robert Mitchum in The Night of the Hunter. But I couldn't place the accent used by actor (and Firesign Theatre alum) Phil Proctor in his role as Anvil Bores, until it brought to mind images of Boris Badenov of "moose and squirrel" fame (himself no doubt pulp-inspired).

The second story, "Hoss Tamer" (from the January 1950 issue of Thrilling Western) is a redemptive story of sorts. It is entertaining in its own way, though the conclusion is unsurprising. But the Under the Diehard Brand book and audio also contain a real discovery in its tragicomic final tale.

In "The Ghost Town Gun-Ghost" (from an August 1938 issue of Western Story), a man on the run from the law escapes to an nearly empty settlement populated only by a man named Pokey McKay. Pokey fills in the gaps of his loneliness by performing all the needed functions of the town under other names, and speaking of them in the third person. Rob Paulsen (a double Emmy winner for his work on Animaniacs) delivers a tour de force as Pokey and all his personalities.

Author L. Ron Hubbard not only tells an entertaining story, but doesn't shy away from descriptive passages that enhance the atmosphere, like the following from "Under the Diehard Brand":

He sidled up to the bar and stared at the dill pickle and aged cheese, which Long Henry was carelessly wont to call his 'free lunch'. Even so, the meager display was tantalizing to a stomach grown a stranger to food and coupled with a pocket lined only with tobacco crumbs.

There are some unintentional chuckles along the way and the occasional schmaltzy ending, but those sorts of things are to be expected. Nobody reads pulp fiction for the intellectual challenge it offers, after all. That said, Under the Diehard Brand is a highly entertaining listen.

The music and sound effects are of high quality, the actors are experienced professionals, and director Jim Meskimen orchestrates all the pieces beautifully. Galaxy Press has spent the money for a quality product, and it shows. Plus, Under the Diehard Brand gives the reader and listener three solid stories — and two real winners — for the price of one.

Son of Retro Pulp Tales edited by Joe R. Lansdale and Keith Lansdale

This review originally appeared in somewhat different form on The Green Man Review. Copyright 2009. Reprinted with permission.

In 2006, author/editor Joe R. Lansdale collected a selection of short stories written by various authors in the style of the old pulp magazines. Retro Pulp Tales was that rare anthology that was almost universally acclaimed, and it shared the Bram Stoker Award for Best Anthology for that year. It is therefore not surprising that Lansdale and Subterranean Press have come out with a sequel, appropriately titled Son of Retro Pulp Tales and appropriately edited by Lansdale and his own son Keith.

The anthology starts off with a bang with Joe Lansdale's own contribution. (He sat out the first round.) "The Crawling Sky" features Reverend Jebediah Mercer, the hero of a novella (Dead in the West) and two other short stories collected in The Shadows, Kith and Kin. It concerns a caged lunatic, a house with "haints," a magic book, and a man-eating Shmoo — you know, your average everyday Western (at least as seen through a Lansdalean filter).

David J. Schow chronicles "A Gunfight," as his hero Proctor (with apologies given to the late Donald E. Westlake, a.k.a. Richard Stark) is run through the wringer for the sake of a few bucks. Schow never lets the action stop, and the result is reminiscent of his Hard Case Crime novel Gun Work. James Grady offers an action-filled tale of Crows, crutches, and a cocked Colt set in the other kind of "Border Town."

Mike Resnick brings the funny in the pulp-adventure parody "The Forgotten Kingdom." It's his latest story to feature the Right Reverend Honorable Doctor Lucifer Jones, man of the cloth and seeker of half-naked High Priestesses. Jones is not too educated, but he has a sharply developed sense of irony, which makes his narration a hilarious read. Cherie Priest delivers creepiness to spare with her Weird Tale of "The Catastrophe Box" (stolen from a paranormal investigator) and its effect on a doctor and his wife.

I wish I could praise William F. Nolan's "The Perfect Nanny," since it seems so personally significant in his introduction, but it is unfortunately so cliche and predictable that there's really nothing to recommend it. Also, Christopher Golden has a beautiful germ of an idea in "Quiet Bullets" — a spectral cowboy teaches a fatherless boy how to defend his home — but the short format requires him to skimp on its development and bring it to its conclusion too quickly.

Timothy Truman serves up "Pretty Green Eyes," the "first piece of all-prose fiction sold" by one known primarily for his illustrations. (He also did the terrific cover.) Truman digs into his Appalachian roots and comes up with a story that delivers the punch of a Mickey Spillane novel in just 12 pages. Matt Venne tries out his version of the Steve Costigan boxing stories of Robert E. Howard — only with Joe Louis fighting Himmler ans his Nazi werewolves during WWII. "The Brown Bomber and the Nazi Werewolves of the SS" is one of the more exciting stories in Son of Retro Pulp Tales due to its climactic scene in the ring; just watch out for the schmaltzy ending.

Stephen Mertz pays homage to another pulp master by writing "The Lizard Men of Blood River" according to the formula reportedly used by Doc Savage creator Lester Dent. What results is one hell of a pulp story. It has a strong and fast hero, Speed McCoy, a scantily clad damsel in distress, and a highly unconventional villain. It's also unbelievable, wonderfully tongue-in-cheek, highly imaginative, well written, and most of all, exciting. "The Lizard Men of Blood River" is undoubtedly the high point of Son of Retro Pulp Tales, and this Mertz fellow was obviously born in the wrong decade.

Ending the anthology is Harlan Ellison's "The Toad Prince, or Sex Queen of the Martian Pleasure-Domes," a highly imaginative — though disappointingly linear — piece of sci-fi involving pieces of six and a whore called Sarna. Ellison offers a great deal of suspense and creative detail along with a sort-of surprise ending that caps off another worthy selection of pulp pastiches.

Though it doesn't have the fully fledged atmosphere of its celebrated parent, Son of Retro Pulp Tales is actually more representative of the broad range of genres published during pulp's heyday. It also offers a similar success rate, with at least one true gem and only one true dud. Those seeking to recapture the past with fiction of the present need look no further.

Six-Gun Caballero by L. Ron Hubbard (unabridged Western audio book)

L. Ron Hubbard is probably best known as the founder of Scientology and creator of Dianetics, but his fiction has been popular for decades. His science-fiction epic Battlefield Earth was a worldwide bestseller, as were all ten volumes of his Mission Earth series.

These days, however, his name is largely connected with the antics of the some of the more (shall we say?) "outspoken" members of the religion, overshadowing the fact that the man really knew how to tell an entertaining story. Now Galaxy Press, founded to promote Hubbard's fictional output, are focusing on the author's early work for the pulp magazines of the 1930s and '40s, reprinting all 150 of the stories he wrote during those years.

Pulp fiction fans rejoice, because there's a "new" voice on the block that deserves to be noticed. I'm a big fan of Westerns and audiobooks, but sadly, Western audiobooks are increasingly hard to come by these days. Plus, when you can find them, they're expensive. So, when I learned that the Stories from the Golden Age series was simultaneously being released in paperback and audio — with both versions at the same price — I knew I would have to try them out, despite any preconceived notions I had about the author.

The recordings I've tried so far are just terrific. They are a professionally produced combination of traditional narrated audiobooks (with narration deftly handled by R.F. Daley) and old-time radio, with actors playing the characters (often multiple roles) and genre-specific music and sound effects rounding out the experience.

Six-Gun Caballero was originally published in Western Story Magazine's March 12, 1938, issue. Michael Patrick Obañon inherited 100,000 acres of land from his father, Irishman Tim Obañ. Recently, the Gadsden Purchase has turned this Mexican property over to U.S. ownership, and all such property has been deemed open for settlement.

Tim's old friend, Judge Klarner, attempts to advice don Michael to refile his claim with the U.S. government, but he gets there just before the arrival of a gang set on taking the land and everything on it. When they mistake Don Michael for a "greaser" ranchhand and offer him new employment, he accepts and takes the opportunity to infiltrate. Because Michael Patrick Obañon is not about to let the renegados commandeer his father's legacy, but he'd rather use his wits than his silver-inlaid pistol any day; it's more fun that way.

Director Jim Meskimen's performance as don Michael grounds the whole cast's performance with its subtlety. He embraces the charm and humor of the character, adding more than could be projected merely on the printed page. Meskimen's relatively low-key acting leaves Shaun Duke free to chew up and spit out the microphone in his wonderfully over-the-top, villainous turn as Charlie Pearson. The rest of the cast, R.F. Daley and Tait Ruppert, is equally talented. (All the roles are played by just four people, and you'd never know it.)

Hubbard uses the traditional Western form to tell a challenging and unpredictable story, where the hero outwits his attackers instead of merely having to outshoot them. In doing so, he also puts the spotlight on the consequences of a well-known historical event: one seen as positive on the one side but obviously not fair to everyone involved. But Six-Gun Caballero is so intelligent and suspenseful that you'll not really notice the historical subtext until it's over.

I'm really excited about sampling more of the Stories from the Golden Age series of pulp tales. I think you'd agree that anything that gets somebody actually excited about fiction these days is worth a look. And Six-Gun Caballero is a great place to start: it's not only an exciting story, but it also takes a nontraditional approach to the hero, something that is even today a pleasant surprise in Western fiction.

Honey in His Mouth by Lester Dent (Hard Case Crime)

Reading Honey in His Mouth was an exercise in giving an author a second chance. I first read the work of Lester Dent in June when I happened upon a Doc Savage novel by "Kenneth Robeson" (Quest for Qui) in a used-book store. I didn't like it. Mostly, I didn't like the characters. After all, why does a superman of sorts need five assistants, especially when he spends most of the book saving them from their own stupidity?

That said, the story showed some real creative thought on display, so I opened Honey in His Mouth with both trepidation and anticipation. This novel was written in 1956, one of Dent's last, and it remained unpublished until Hard Case Crime got hold of it and added it to their roster of lost novels that include Roger Zelazny's The Dead Man's Brother and David Dodge's masterful The Last Match, a modern classic of grifter lit.

The main draw of Honey in His Mouth for me was its con-man protagonist. If you want me to read a book, tell me there's a confidence scheme involved, and the more elaborate the better. (Another recent read, King Con by Stephen J. Cannell, was very enjoyable in an Ocean's Eleven kind of way — meaning all the pieces are there, but it was a little too eager to be mainstream to be anything more than a fun ride.)

Dent starts out with a truly exciting car chase. Walter Harsh is a photographer who is not averse to scamming folks for equipment. Such was the case with D.C. Roebuck, who let Harsh have $712 worth of supplies to be billed later. Harsh never paid the bill and subsequently met Roebuck at a filling station. Harsh speeds out; Roebuck gives chase, and off we go. Before the end, an arm is broken, and a car is off the road.

Harsh's time in the hospital gives him an opportunity. He has O-negative blood, you see, a very rare type. This just happens to be the same blood type as the president of a South American country, whom Harsh also just happens to exactly resemble. There is a quartet of schemers who have been looking for someone just like him to impersonate the dictator, and they're willing to pay him $50,000.

Dent sends us on a ride that will not only please his fans but also those of other Hard Case Crime novels. The vetting process of Harsh is a highlight, with the five main characters taking turns in the spotlight. Each one — Brother, Doctor Englaster, Mr. Hassam, Miss Muirz (the dish depicted in the cover painting by Ron Lesser), and Harsh himself — is a full-bodied individual easily distinguished by his or her own conceits and deceits.

Just as I was getting comfortable with them and settling in for a smooth read, Dent throws a monkey wrench that practically sends their plans all to hell. I was worried that Honey in His Mouth would soon focus on the scheme to the book's detriment, but this conflict only serves to bring out the characters' differences and personalities all the more.

Dent is a highly skilled plotter, and Honey in His Mouth in a prime example. It is definitely one of the best of the year, and it just may be one of the best that Hard Case Crime has published yet. It rushes headlong toward a roller coaster conclusion — with plenty of sharp turns to keep things interesting, including two I never saw coming (though my wife thought one was obvious, so your mileage may vary).

Between Honey in His Mouth and The Last Match, my favorite books of the Hard Case Crime like have been ones found by their authors' estate. I for one would be very grateful if all late crime authors' relations would thoroughly scour their famous kin's files for more gems like these. Sometimes trunks house treasures.

The Horror Stories of Robert E. Howard (edited by Rusty Burke, illustrated by Greg Staples)

This review originally appeared in somewhat different form on The Green Man Review. Copyright 2009. Reprinted with permission.

Robert E. Howard wrote short stories during the heyday of the pulp era, mostly for Weird Tales, from 1924 until his death by suicide in 1936 at age 30. Howard wrote in various genres, but he is now best known for his stories popularizing the fantasy subgenre "sword and sorcery," and especially the hero he created, Conan the Barbarian. His range of talent, however, is becoming better known, as pulp-era fiction regains a modern readership. Del Rey Books is doing their part to keep his name in front of book-buyers with their affordable trade-paperback collections of his work, of which The Horror Stories of Robert E. Howard is only the most recent.

Compiler and editor Rusty Burke has done a great job putting these 40 stories and 20 poems in an order that makes sense, and not just in a chronological or other arbitrary order — the pieces that "belong" together and actually have some connection to each other appear one right after the other. This gives The Horror Stories of Robert E. Howard a smooth flow that I've rarely experienced with a short story collection, and certainly not one of this breadth. The evocative black and white illustrations of Greg Staples heading each story, with an additional handful of full-page images, are the perfect accompaniment to Howard's otherworldly tales.

Howard's skill at blending genres — he wrote fantasy, Westerns, historical fiction, even boxing stories — merely showcases the fact that horror can happen in any situation or environ. "Rattle of Bones" features Howard's 17th-century Puritan hero Solomon Kane. Kane and Gaston L'Armon enter a tavern for the night and discover there's a good reason it's called "The Cleft Skull." This story has suspense, death, and insanity portrayed with skill, and it really let me know what I was in for, in a way that the opening tale "In the Forest of Villefere," a werewolf tale followed by the better "Wolfshead," did not. ("Red Shadows," the novella in which Solomon Kane first appeared is not included, but Kane fans have Del Rey's The Savage Tales of Solomon Kane to satisfy them.)

"The Dream Snake" stands out as a particularly well-done pure horror story in the classic told-by-the-campfire vein. That is, its ending is entirely predictable and, in fact, inevitable from the beginning. But Howard's portrait of a man in the grip of an intense lifelong fear (from a horrific recurring dream) is utterly believable. A well-performed reading of "The Dream Snake" could be the highlight of any Halloween night storytelling session.

An unexpected highlight of this collection is a selection of Howard's Lovecraftian horror. H.P. Lovecraft was Howard's friend and mentor, and they corresponded by mail for years. Lovecraft's "Call of Cthulhu" is immortalized in Howard's "The Children of the Night" as one of "the three master horror-tales" — along with Poe's "The Fall of the House of Usher" and Machen's "The Novel of the Black Seal" — that "touch the true heights of horror." (Pick up a copy of Horror: 100 Best Books to read Howard's opinion of another favorite horror novel, James Branch Cabell's Something About Eve.)

Howard's confidence is astonishing, as he boldly makes his own additions to the Lovecraft canon (Von Junzt's Nameless Cults, poet Justin Geoffrey) that have become as much a part of the Mythos as Lovecraft's own works. But even as he adds to another author's world, he remains firmly in Robert E. Howard territory, and these tales are just as enjoyable with no prior appreciation for such "Yog-Sothothery" (what Lovecraft called the practice of Mythos-sharing, which he supported).

Having long been enthralled by tales of rare books and their supernatural effects on unassuming readers, I was deeply engaged by these stories (including "The People of the Monolith," "The Children of the Night," and "The Black Stone" among others), especially by the fact of their tangential relationship to one another. One story may make a passing mention of a character, while another focuses more deeply on another aspect. Pict king Bran Mak Morn searches for the same Black Stone in "Worms of the Earth," and the poem "The Symbol" describes it with a tone reminiscent of Shelley's "Ozymandias." Read all together, they immerse the reader in a fascinating otherworld in a way that would be impossible encountering the pieces individually. Later, in the section devoted to horrific Westerns, "The Hoofed Thing" is a marvelous mix of Lovecraftian fiction and the Old West. Though somewhat weak in believability, it remains exceptionally effective. Some of the four unfinished "Miscellanea" pieces add more interesting information in this vein, but they are otherwise frustratingly incomplete.

No collection of Howard horror would be complete without "Pigeons from Hell," the novella Stephen King called "one of the finest horror stories of our century" in Danse Macabre. Some may know it from its adaptations to other media, from an episode of the Thriller anthology TV series to a recent graphic novel (scripted by Joe R. Lansdale). The concept seems laughable, but Howard manages to make it truly terrifying with an ending that's actually surprising. "The Cairn on the Headland" and "People of the Black Circle" "glow with the fierce and eldritch light of Howard's frenzied intensity" (to use another apt King reference). Howard seems to be at his best at this kind of tale, where men awaken to find themselves turned into the superhuman warriors they once were long, long ago.

Not only does Howard write gripping tales, but he also uses the English language with a skill I've not yet seen in genre fiction. His vocabulary range is immensely impressive, and I've never seen so many semi-colons all in one place — and used with such skill. Howard picks his words with a master's touch, making unconventional choices that still retain easy readability:

Some distance behind him loomed the green, rank jungle, thinning out to low shrubs, stunted trees and tall grass. Some distance in front of him rose the first of a chain of bare, somber hills, littered with boulders, shimmering in the merciless heat of the sun. Between the hills and the jungle lay a broad expanse of rough, uneven grasslands, dotted here and there by clumps of thorn trees. [p. 111-112, "The Hills of the Dead"]

Not difficult language, by any means — merely the right word for the purpose. One never gets the sense that such and such a word was "good enough," but that only the perfect one would do to set the proper mood. Yet his descriptive narrative style flows smoothly even as it speaks poetically.

Horror fans who tend to eschew modern poetry need not skip Howard's verse. There's a lot here to appreciate. It is written in an older style that any student of literature will find familiar. This makes it highly approachable, as does its often horrific subject matter. "Up, John Kane!" was especially memorable with its folk-ballad rhythm, and the refrain of "Will ye come, will ye come, John Kane?" "Remembrance" is similarly effective telling of a haunting in 14 lines. "Dead Man's Hate" shows how not even death can staunch some men's lust for revenge. "The Dweller in Dark Valley" sets a palpable atmosphere and then explains it with a twist. And that's just a handful of the 20 poems that act as palate cleansers of a sort to The Horror Stories of Robert E. Howard. Interspersed throughout, they only add to the total effect.

For the Howard completists, the editors have included an exhaustive rundown of how the versions of the pieces published in The Horror Stories of Robert E. Howard are different from their original sources, from the placement of commas to the cleaning up of misspellings and further. I was for some reason enthralled by this information, mostly because it shows that Burke and company are fans and scholars who want nothing more than to present Howard in the best possible light. Their choice to use en-dashes instead of em-dashes throughout is mildly irritating, but the text is otherwise nearly pristine.

As a final note, I would just like to mention that, while I was reading this book for review, a severe ice storm hit our community that knocked out the power for nine days. During this difficult time, it was nice to have Howard's wild tales nearby as a small bit of escapism after the kids were asleep, before we crawled into our cold bed for the night. I've found myself returning to them during this economic downturn, as well. Howard's work allows my brain to get away from daily concerns in a way I've not experienced before. His breadth of imagination combined with his expert use of language (two things rarely found in the same individual) showcase a highly literate, action-oriented pulp style that is bound to appeal to all readers of intelligent genre fiction.

Hardboiled P.I. Quote of the Day (from The Big Kill by Mickey Spillane)

Sometimes you come across a passage that is just the perfect example of a particular type of writing. That's what I thought when I read this sentence from the third paragraph of page one of The Big Kill by Mickey Spillane:

She saw me sitting there with my stool tipped back against the cigarette machine and change of a fin on the bar, decided I could afford a wet evening for two and walked over with her hips waving hello.

The Dark Knight directed by Christopher Nolan (starring Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Gary Oldman, Maggie Gyllenhaal)

The Dark Knight (2008). Screenplay by Christopher Nolan and Jonathan Nolan, from a story by Christopher Nolan and David S. Goyer and characters by Bob Kane.

I never intended to review this movie — or, originally, even see it. It's just one more in the constant string of superhero films constantly fed out by Hollywood. But then The Dark Knight became one of the highest-grossing films of all time, and was suddenly declared the best film of all time by Internet Movie Database voters, and I just had to see what all the fuss was about and have my say.

Because it's simply not all that. Other than a riveting — probably a great — performance by the late Heath Ledger, The Dark Knight has little going for it besides the expected high production values and some interesting directorial choices by Christopher Nolan (particularly during the lengthy chase sequence).

Christian Bale has proven his acting abilities in numerous other films, but — and this is the main problem with every film featuring the Caped Crusader — he is given nothing to do here but react to events caused by the villains and the other characters. In a movie called "The Dark Knight," shouldn't the focus be on Batman? Just call this movie "The Joker" and be done with it because, really, even Two-Face (Aaron Eckhart) is mostly forgotten by the time the credits roll.

[Does no one else think it's a problem that role of Rachel Dawes (played by Katie Holmes in Batman Begins) was taken over by Maggie Gyllenhaal and, not only can you hardly tell but it also seems like an improvement? And what happened to Gary Oldman? He had challenging roles in the early 1990s, but here he mostly looks lost and confused while trying to look focused and determined.]

To me, the huge success and unabashed acclaim of The Dark Knight is merely a symptom of the generally poor entertainment being produced by Hollywood these days. When someone comes out with a movie that is better than average, it is instantly hailed as a modern classic. And that's just sad.

The Book of Lists: Horror edited by Amy Wallace, Del Howison, and Scott Bradley (introduction by Gahan Wilson)

The Book of Lists began a franchise in 1977 that has lasted over 30 years. It has resulted in a New York Times bestseller, three other general collections, and one each on the 1990s and punk rock. Now they move even further out of the mainstream with The Book of Lists: Horror.

"Trying to prod a thing as elusive, sneaky, and totally out-of-bounds as horror into an informative and highly usable book of lists would seem to be pretty much impossible," states author/illustrator Gahan Wilson (one of the first artists I learned to recognize by style) in his introduction. But it seems that editors Amy Wallace, Del Howison, and Scott Bradley have managed to somehow compile over 400 pages' worth of opinions, recommendations, and commentary into this endlessly fascinating volume. If you're a fan of the genre, The Book of Lists: Horror is a must read; if you're not, it will make you one.

Here's just a sampling of the contents, limited to lists by 15 of my favorite authors (and not necessarily my favorite lists):

• Edward Lee—"Ten Best Horror Movies with Gratuitous Nudity"
  
• Stephen King—"Ten Favorite Horror Novels or Short Stories" (reprinted from The Book of Lists 3)
  
• Bentley Little—"Ten Horror One-Hit Wonders That Everyone Should Read"
  
• Michael Slade—"Horrific Inspirations for His Thirteen Novels"
  
• Jack Ketchum—"Ten Best Horror Novels That Don't Call Themselves Horror Novels"
  
• Robert Bloch—"Ten Favorite Horror-Fantasy Novels (reprinted from The Book of Lists 2)
  
• Poppy Z. Brite—"Top Ten Dine 'N' Die Stories in Horror Fiction"
  
• Mark Justice—"Seven Favorite Horror Stories from the Bloody Pulps"
  
• J.F. Gonzalez—"Top Thirteen Obscure Shockers from the Pulps and Beyond"
  
• T.E.D. Klein—"Twenty-Five Most Familiar Horror Plots" (reprinted from Raising Goosebumps for Fun and Profit)
  
• David T. Wilbanks—"Ten Favorite Dark Works of Classical Music"
  
• Bryan Smith—"Top Ten Horror-Themed Rock 'N' Roll Songs"
  
• Christopher Golden—"Ten Favorite Supernatural TV Series
  
• Steve Niles—"Top Twenty Horror Comic Covers"
  
• Gary A. Braunbeck—"Seven Disparately Horrific Triple Features"

...and that's just scratching the surface. The Book of Lists: Horror took up every free moment I had from the day I got it until ... well, I still refer back to it now and then and expect to keep it on my reference shelf right next to another horror-list classic: Horror: 100 Best Books. In fact, my only real complaint is that there is no comprehensive index or table of contents that would allow the reader to relocate a favorite list. But there are so many terrific takes on the genre included in The Book of Lists: Horror, however, that the search will undoubtedly result in finding something else great in the process.

The Goliath Bone by Mickey Spillane with Max Allan Collins (Mike Hammer)

"Do we need an attorney, Mr. Hammer?"
"No," I said. "You need me."

Mike Hammer is back! Twelve years after his last appearance in print (1996's Black Alley), America's best-selling private detective adapts to a post-9/11 world, complete with Islamic terrorists on his tail.

The Goliath Bone is the 14th in the long-running series that has spanned over 60 years. Mickey Spillane was never what you would call a prolific writer. Probably because he didn't write because he had to write: he only wrote when he needed money. Thus, for there to be years, even decades, between books was not unexpected. In fact, the 12 years since the last entry doesn't seem quite so long when you consider the nearly 20 that passed between #11 (Survival ... Zero!, 1970) and #12 (The Killing Man, 1989).

A little backstory: After Spillane's death in 2006, his friend and sometime collaborator Max Allan Collins (still the most vocal supporter of Spillane's influence on the crime genre) was given the task of finishing some of the incomplete works found in Spillane's files, with the most excitement focusing on a handful of unfinished Mike Hammer novels.

Though a standalone novel called Dead Street was published by Hard Case Crime under Spillane's sole byline, a Mike Hammer novel called The Goliath Bone was actually closer to completion when Spillane died. The job required Collins to do a combination of editing and writing throughout, getting his fingerprints, so to speak, all over the book.

Therefore, Collins's influence is felt throughout The Goliath Bone, where in Dead Street it was mainly in the final three chapters. Collins does a masterful job at matching Spillane's terse style, but his own more literary tendencies are likely to be noticed by a Collins devotee (such as myself).

The story is a little odd by usual Hammer standards. Two stepsibling grad students (the children of Nobel Prize candidates) possess a valuable artifact presumed to be the femur bone of Philistine giant Goliath ("that champ who went down for the count with an underdog's creek rock in his forehead") wrapped in brown paper. On their way down the subway stairs, someone tries to kill them, and Hammer (who just happened to be exiting a nearby bar when his Spidey-sense tingled) steps in just in time, making himself their bodyguard in the process.

Unfortunately, this new case comes at a very inconvenient time. Hammer and his long-time secretary/girlfriend Velda were just about to head off to Las Vegas and get married, and this puts that off for a little longer. But Velda knows who she's dealing with, and so doesn't put up much of a fuss, offering her own exemplary mental and armamentary services in addition.

No longer the lone wolf, Hammer is surrounded by the other characters for much of The Goliath Bone. The modern Mike Hammer is a man in love: he holds hands with Velda often and discusses the options with her, respecting her input. This is the Hammer of the 21st century, a man who doesn't live in the past, though he certainly talks about it a lot ("I was in all the papers").

Readers used to the tight pacing of the classic Spillane novels will notice instantly that The Goliath Bone has a great deal of talk in it. The exposition — including lengthy discussions on the history and origins of the bone, the intentions of the different factions concerned (handled with some degree of sensitivity), life in a post-9/11 world, and especially far too much of "here's what might happen and here's what we're going to do about it" — takes up over a third of the novel. But once it gets going, the book offers international intrigue on the level of Eric Ambler and John LeCarré.

More Hammer novels are slated for the next few years, but The Goliath Bone is meant to be the last chronologically in the Hammer "timeline" (much like Collins's own Quarry series "ended" with 2006's The Last Quarry, with The First Quarry coming two years later). With a final-chapter reference that ties back to I, the Jury, the series comes full circle in a satisfying way.

Killing Castro by Lawrence Block (Hard Case Crime)

There's been very little pattern in the schedule of recent publishing juggernaut Hard Case Crime. But for the third year in a row, each January has seen the reprinting of one of author Lawrence Block's "lost" novels originally published under pseudonyms. (I'm sure it doesn't hurt that Block's books — the line's inaugural release Grifter's Game, late 2005's The Girl with the Long Green Heart, and the new-year releases of 2007 and 2008, Lucky at Cards and A Diet of Treacle respectively — have been some of their best sellers.)

Ringing in 2009 is the (re)appearance of Killing Castro, which the Hard Case website touts as "the rarest of Block's books," almost 50 years after its first publication in 1961 (the year before the Cuban Missile Crisis, just to put things in a chronological perspective) as Fidel Castro Assassinated by "Lee Duncan," a pseudonym Block used only for this book.

(Just to illustrate the genuine rarity of this particular book, on the day I wrote this review, there were no copies available for sale on either Amazon, Alibris, or eBay, and the one used copy on Abebooks was $600!)

Killing Castro introduces us to five men — Turner, Garrison, Garth, Fenton, and Hines — all hired for their own reasons at $20,000 each to kill the Cuban dictator who himself attained power by overthrowing the previous despot. The first chapter introduces the men, the second begins a bio of their target. Quickly we know who we're dealing with, and this pattern continues throughout the rest of the book, with alternating chapters focusing on the present and the past. It's a nice sort of flashback motif, and it works toward making Fidel Castro a sympathetic character, at least until he becomes the thing he's fighting against.

Block makes the reader care about everyone, at least about whether they'll live or die, and he elicits just the right amount of empathy. Despite the title, it's easy to make the assumption that Castro does not die in Killing Castro simply because he's still alive at this writing. This assumption puts a fatalistic spin on the actions of Turner, Garrison, Garth, Fenton, and Hines — how many of them will die? which ones will it be? — that ratchets the suspense a even higher than Block's prose does on its own.

Killing Castro is easily the equal of Block's previous Hard Case Crime reprints. Just like those, I wanted to be reading it every free moment. And just like those, it is guaranteed to bring a terrific reading experience, not only to the author's devoted fans, but to anyone who appreciates well-written hardboiled crime fiction.

Super-Detective Flip Book: Two Complete Novels by John Grange (Introductions by John Wooley and John McMahan) (Jim Anthony, Super-Detective)

"As a manhunter Jim Anthony had no equals; his fame as an amateur scientific criminologist was world-wide. Detection was his hobby, his avocation; countless were the mysteries he had solved, the murderers he had brought to justice after the police themselves had failed. In consequence, the mere mention of his name was enough to strike terror into the heart of any transgressor." — from Murder's Migrants in Super-Detective Flip Book: Two Complete Novels

Pulp fiction seems constantly to be on the comeback. From a publisher entirely devoted to it, like Hard Case Crime, to modern-novel imitations like The Chinatown Death Cloud Peril, even to weblogs trumpeting its merits, like the "Pulp O' the Day" feature on I Was a Bronze Age Boy, it seems we just can't get enough of those seemingly undefeatable heroes like The Shadow and Doc Savage, and the hardboiled private eyes that followed in their footsteps after World War II.

During his tenure as star of his own magazine, Super-Detective, millionaire Jim Anthony was both a superhero and a detective. For 10 novels (always written under the house name "John Grange" — much like The Shadow's author, "Maxwell Grant"), Anthony fought "super-villains" in high adventure tales of science-fiction. Then, for whatever reason (not all that many world-dictator wannabes, I imagine), Jim Anthony became a more traditional shamus against foes with more earthbound ambitions.

Both of these phases are considered by aficionados to be of equal quality, and the Super-Detective Flip Book contains a "novel" (really "novella," as neither exceeds 100 pages) from each period, printed back-to-back and head-to-tail like the old Ace Double format. (Only, unlike the mass-market size that Ace used and that Hard Case Crime recently revived with its reissue of two early Robert Bloch books — Shooting Star and Spiderweb — Off-Trail Publications and Reverse Karma Press have published these books in trade paperback.)

First up chronologically is November 1940's Legion of Robots, the second of a trilogy of novels (widely presumed to be the work of pulp sci-fi author Victor Rousseau, though this is still only speculation) featuring Jim Anthony's struggle with Rado Ruric. Don't worry that two-thirds of the story is missing, however: the other two have been reprinted separately since their debut and (at least according to the introduction by John McMahan), Legion of Robots is considered to be better than its brothers (Dealer in Death and Madame Murder).

Turn the book over to find not-so-"super" detective Jim Anthony in March 1943's Murder's Migrants, one of around a dozen Anthony tales written by pulpsmiths Robert Leslie Bellem and Willis Todhunter Ballard (still under the "John Grange" pseudonym). During this era, Anthony's adventures became less kid-friendly (mostly due to his sidekick's eye for the ladies), because comics had taken away much of that audience and the publisher decided to cater to the older readers who had remained.

While Anthony was originally created as an amalgam of other heroes of the time, like Doc Savage, Superman (just check out the "Super" lettering on the cover), and possibly even Tarzan, he has his own admirable qualities — and a "legion" of fans to support him. But neither of the stories in the Super-Detective Flip Book is what I would call "good." They both have the particular pulp charm of stories that were written in a hurry, but Murder's Migrants in particular is painfully overwritten in spots. (Given its 60-page length, this is rather surprising.)

Before 10 pages have passed, Bellem (who would eventually focus his skills on television scripts) and Ballard (who would stick to novels but switch primarily to Westerns as "Todhunter Ballard," even serving as vice president of the Western Writers of America for a time), have brought out half a dozen of Anthony's superhuman powers (some from his Comanche mother, another from a Hindu yogi) before he has even met the villain. And the finale more closely matches that of the Firesign Theatre's detective parody Nick Danger, Third Eye than any other real detective novel. And in case we didn't get the point, there's that passage I quoted at the beginning of this review, which I can only refer to as a sales pitch. (No wonder author Bill Pronzini devoted an entire chapter to the duo in his book an awful crime writing, Gun in Cheek.)

Super-Detective Flip Book is a terrific time capsule of a time when pulp was king, and "escapism" was the name of the game. I'm not sure that it's going to gain the style many new fans; the quality of writing is simply too pedestrian to make a new reader hungry for more. But the pulp fan who needs something besides the same old reprints that everyone else has already done will find it a welcome discovery indeed.