Mortal Lock by Andrew Vachss (collection of 20 short stories and a screenplay)

Crime author Andrew Vachss is well known as a modern master of the hardboiled tale, and the twenty-one works in his latest collection, Mortal Lock, only serve to further that reputation.

Vachss is an attorney who only represents clients under 18, but his doppelganger shows up in "Veil's Visit" (co-written with friend and fellow Texan Joe R. Lansdale) to defend Hap Collins's best friend, serial crack-house arsonist Leonard Pine.

Veil's defense is as funny as it is clever, and Lansdale and Vachss blend their styles seamlessly. It is a treat for Lansdale fans and a welcome source of laughs in the midst of the surrounding darkness.

Because the stories in Mortal Lock are dark, no doubt about it. Vachss seems to specialize in portraying the worst sides of humanity, with only occasional dashes of hope included.

Lucky for the reader, what makes society poorer makes for gripping fiction. From beginning to end, the works in Mortal Lock — I would say "stories," but the final third is devoted to a screenplay adapting the "Underground" stories from Born Bad — are utterly engrossing.

And the characters are originals. Take the narrator of "Ghostwriter," one of two previously unpublished stories. He will do anything to be recognized for his writing, as long as it's for its quality. He doesn't care about the money; he still needs to realize his true ambition, no matter who gets in the way.

"Bloodlines" (source of the title phrase) is the other original in Mortal Lock. To fit in while he waits for his target to come along, a hit man learns the ins and outs of racing "trotters." The story and dialogue were reminiscent of some of the best work of Damon Runyon (a favorite of mine), and I loved learning about an unfamiliar topic while being entertained by two really great characters.

Other memorable characters that come to mind are the cagey old prisoner from "Seeding the Ground," and Rhino and Princess from "Profile" — which features series character Cross, protagonist of Blackjack and numerous short stories. "As the Crow Flies" stars the protagonists of Vachss's latest series, beginning with the novel Aftershock. The story starts out relatively low key, but that allows the ending to hit that much harder.

The writing in Mortal Lock, while it may seem sensational on the surface, is actually quite subtle. This comes out best in the several short-shorts scattered throughout. There are stories like "They're All Alike," "Corazón," "Savior," and "Dead Reliable" that save their gut punch to the end. And tales like "Sure Thing," "Passage to Paradise, and "Pig" may not deliver their full effect until the reader has left them for a while. Their power comes from what is not on the page, but in the final picture those words create in the mind.

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.

Christmas Crime: Damon Runyon, Douglas Lindsay, and Tom Piccirilli

If you're at all like me, when a holiday season rolls around, you like to gear your genre-fiction reading toward material with that theme. Where horror dominates Halloween, the Christmas season seems to focus on crime.

I first came across this seemingly ironic pairing in an anthology entitled Murder for Christmas, which still graces my bookshelf, waiting patiently through the other eleven months for me to pay it due attention each December. This book also has the special honor of having introduced me to Damon Runyon via "Dancing Dan's Christmas," which is not only an excellent example of Runyon's style and sense of humor but also holds up to annual rereading.

"Dancing Dan's Christmas" is a yarn (and Runyon's stories often feel like yarns) of getting one up on the coppers. It's a nice little holiday tale filled with Runyon's wonderful humor, sly references to crimes "not" committed by the narrator, and quite a good deal of the Christmas spirit. When a story contains a drunk in a Santa suit and still has an O. Henry–style happy ending, you know you're in the hands of a skilled writer. Murder for Christmas is out of print, but "Dancing Dan's Christmas" is currently available in the Penguin Classics edition of Guys and Dolls and Other Writings.

From upstart publisher Blasted Heath comes Douglas Lindsay's latest in his series of Barney Thomson, the "renegage barbershop legend," The End of Days, a novella set during December 2009. Carnage seems to follow Thomson wherever he goes, though Thomson directly causes none of it.

In The End of Days, at the same time Britain's Prime Minister hires Barney to do his hair ("He did Blair's hair at the last election. And he did the First Minister in Scotland a while back. He has form. Get him down here") — despite a warning that "death, murder, slaughter, blood, horror, mutilation and genocidal abomination are sure to follow" — someone starts killing off members of Parliament at an alarming rate.

As the PM is more concerned with how his hair looks at each speech he gives — "I want a haircut that transcends hair. That's what Gandhi had. He had a haircut that didn't even need hair. I want something like that, but a haircut that doesn't need hair but has hair anyway" — Thomson becomes his advisor during one of the worst times in Britain's history, culminating in a planned invasion of the United States! This combination of serial killer and political satire makes for great reading.

Where The End of Days ends on Christmas Day, author Tom Piccirilli's "noirella" You'd Better Watch Out begins there, as the narrator watches his father brutally murder his mother on that holiday. (Piccirilli's time working in the horror genre comes in handy here.)

Soon, he begins working for mobster Johnny Booze, who trains the kid to be a torpedo (hitman) of the highest order, while the kid readies himself for the day his father is released. The tension Piccirilli weaves throughout the story is sometimes nearly unbearable, showing how he's one of today's top noir-fiction writers.

Piccirilli uses the Christmas theme well, as nearly every important event occurs on or around that day as the years pass. You'd Better Watch Out is certainly not a feel-good read — though there is a genuine soft spot at its center — and it is perfect for those not looking for some relief from the usual tidings of comfort and joy.

(And after you've read all three of these stories, be sure to add The Thin Man to your annual slate of holiday viewing, even if only for the scene where Nick Charles tests out his new air rifle — on the Christmas tree ornaments.)

Happy holidays!

Best of the West, Vol. 1: Classic Stories of the American Frontier (Western audiobook anthology)

Best of the West, Vol. 1: Classic Stories of the American Frontier is a 2009 audio anthology of classic and modern classic Western stories by a wide range of authors from Matt Braun to Zane Grey, from Will Henry to Elmer Kelton. Here are some highlights:

Author Gordon D. Shirreffs (Rio Desperado) is always good for a Western filled with complex characters and situations, and "Death Hires These Guns!" is no different. Reed Emmons is in the Mexican border town of Nogalles when he gets word that his brother Rance was killed by a backshooter. Of course, he wants revenge, but he has trouble getting a bead on the killer.

First, it's Burt Whitman, marshal at the Cottonwood seat, but the evidence is circumstantial. Turns out Rance was seeing Whitman's sister Aurelia. But when Reed goes in disguise and finds Whitman had nothing to do with his brother's death, will an extra complication make him go through with his plan anyway?

In Loren D. Estleman's "The Death of Dutch Creel" (also available in his Western collection The Bandit and Others), someone who was actually at the titular event (in a way) sets the record straight after seeing a particularly sensationalist "authentic" retelling at the pictures. Arte Johnson's reading emphasizes the wry humor.

Gary McCarthy tells the story of a frontier doctor, James Stanton, who needs to learn how to "Grab, Root, and Growl" if he's going to marry the woman he loves. On the cusp of ending their relationship, he gets his chance. McCarthy portrays another kind of "true grit" here, in having Stanton show that one person's definition of "quitter" does not suit everybody.

Re-Kindling Interest: Horrorween by Al Sarrantonio (Halloween horror, Orangefield series)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

Orangefield is a strange little town. As Detective Bill Grant said in The Baby, a lot of "weird shit" happens around Halloween, in one way or another involving the participation of Samhain, the lord of the dead. A children's-horror author, a five-year-old boy, an older girl named Wizard, a Halloween historian, and a pumpkin tender are all connected by visits from Samhain. Horrorween chronicles a series of events that comes to a head on Halloween, when people will die, others will redeem themselves, and Samhain with either succeed or fail.

Horrorween is primarily composed of three early Orangefield stories -- the short story "Hornets," the novella The Pumpkin Boy, and the short novel Orangefield -- tied together with narrative glue to form a novel that is a surprisingly cohesive read.

Sarrantonio combines the horror and innocence of Halloween in a way no one has since Ray Bradbury. Horrorween, unlike the vast majority of modern horror novels, is subtle, not beating the reader senseless with shock after shock but developing a sustained level of tension. When Sarrantonio delivers the final blow, it's almost a relief.

And his horrors are truly shocking events that anyone can relate to -- not based on what Stephen King called "the gross-out." Don't get me wrong: some of my favorite horror authors are gross-out artists, but it's refreshing to encounter horror of the old school that seeks to truly terrify, yet is otherwise basically PG-rated.

Though Sarrantonio has a very accessible style, his storylines manage to be unpredictable and not easily summarized because to describe the action would either be unhelpfully vague or would give something away. And that would be a shame because Horrorween offers such a terrific ride for lovers of Halloween and light horror fiction.

For more Halloween recommendations, check out my 2009 Halloween feature.

Too Poor for Texas by Joe Donn Martin (short stories)

Since, as a reviewer, I come across quite a lot of writing that was not quite ready to be published, it makes the good ones all the more special. Too Poor for Texas was a particularly pleasant surprise.

It took me a long time to get through this collection, but not for the usual reason. It was the high quality of the stories and the writing that made sure I didn't just speed through.

Author Joe Donn Martin's cast of Texans are rich and real, and they refused to be forgotten immediately. Thus, I had to take my time and savor each story and each character's struggles before continuing on to the next.

Each tale is so different from the one before that Too Poor for Texas felt more like an anthology than a collection, and since Martin is a new author, his ability to inhabit the varied individuals is especially remarkable. Though each story stands on its own as is, the depth of character is such that I could easily see their lives lending themselves to longer works.

I don't usually announce this so boldly, but Too Poor for Texas comes with my highest recommendation.

Friday's Forgotten Book: Terrible Thrills by C. Dennis Moore (horror short stories)

For more of Friday's Forgotten Books, this week visit Sweet Freedom.

The best thing about electronic publishing is the opportunity for authors to get their out-of-print work available once again to readers in a way that gets royalties flowing in their direction. I am very happy to see that C. Dennis Moore's short-story collection Terrible Thrills is available as an ebook. Here's the review I wrote back when the print version came out in 2005....

Author C. Dennis Moore definitely knows his way around a short story. His mastery of the form is especially evident in the two dozen examples comprising his debut collection, Terrible Thrills (as in "...'When worlds collide,' said George Pal to his bride, 'I'm going to give you some....'").

Conciseness is key in Terrible Thrills. Moore has selected only his shortest stores for inclusion: most are around eight pages, with a handful of flash pieces covering only half a page. It is difficult to decide which is more effective.

The flash fiction works like a sucker punch to the eye, but the longer stories — given Moore's economy with words — allow him to drag us through quite a range of terrors. For example, the title story is really two in one, connected by the premise of a Halloween CD with two troublemaking tracks entitled "Murder" and "Mayhem." It feels much longer, but only because so much happens.

Despite this choice of shorter fiction for Terrible Thrills, Moore does offer a glimpse of his facility with longer works. Two presumably unconnected stories, "The Strange Thing that Happened at the SpinCycle Laundry" and "The Salvation of Victor," come together within a third, "The Flesh-Method and Myriad." The ending of the latter makes me eager to read the expansion of these stories, Revelations.

As good as this whole collection is, some stories stand out about all the rest. "The Legend of Mr. Cairo" is one. It's not the most original selection in Terrible Thrills, but that's part of its charm. Its familiarity makes it memorable, the way Moore fulfills our expectations, instead of subverting them, and feels comfortable doing it. I like surprises, but in "Cairo"'s case, predictability works best.

A few more highlights include the personification of the seasons is "Winter's Reign." "Luck of the Draw" combines Shirley Jackson, the Grimm Brothers, and M. Night Shyamalan in a creatively derivative tale with a few surprises. "The Son of Man" dramatically illustrates a New Testament prophecy of the Second Coming (Luke 21:27, to be precise): "And they shall see the Son of Man coming in a cloud with great power and glory." For three friends (who just happen to share their names with saints), it is doubtful whether their "redemption is near," or they're just in deep trouble of the worst kind.

Bodies that cannot be depended upon are the subjects of "Plaything" and "Parliament of Jim." While neither has a truly satisfactory ending, they were both thrilling reads and I especially enjoyed Moore's use of different fonts to represent different points of view. The aftermath of Mr. Seagle's wife Astrid's death from lung cancer also plays out in two very different ways in "Preparations" and "Astrid Like a Candle" — one darkly humorous, the other disturbingly scary.

But if there is a perfect story in Terrible Thrills, it is "Working for the Fat Man," which takes a universally familiar concept and gives it a hard twist while remaining faithful to the original feeling of the source. It combines the best parts of "unpredictable" and "not surprising," resulting in a feeling of inevitability, an utter "rightness" to all the events. Look for it to be anthologized for years to come.

The one thread that ties all the stories together is Moore's wonderfully skewed imagination. From the first paragraph, I was drawn in. Moore writes with a voice I know, his phrasings feel similar to my own, and this put me instantly at ease. The more he shocked me, the more I wanted to be shocked. I was ready to go wherever he wanted to take me — even to Enlil (and "Bob's Leg" will tell you all you need to know about that place). In short, reading Terrible Thrills is like being tortured by a good friend.

The Silent Wall / The Return of Marvin Palaver by Peter Rabe (also includes "Hard Case Redhead")

Though they've previously reprinted ten other novels by author Peter Rabe, this volume is exciting news even for Stark House Press as it contains two works that have never been published in any form: the novel The Silent Wall and the novella The Return of Marvin Palaver. Sandwiched between the two longer works is the ultra-rare short story "Hard Case Redhead," which has not been seen since its original appearance in Mystery Tales Magazine. All of these will be welcome additions to the libraries of Rabe enthusiasts.

Because it was the shortest, I started with "Hard Case Redhead." This story is real shot-in-the-arm fiction, with two robbers kidnapping an accidental tourist on her way across their escape alley. The tension is high, the characters well drawn, and the insight is up to usual Rabe standards — all included in a package a fraction the size of the author's usual offering.

Stark House Press's regular proofreader Rick Ollerman steps up his participation (rating a special thanks from the publisher) with an incisive, though occasionally repetitive, introduction that displays his wide knowledge of the Rabe oeuvre. Ollerman's introduction is an even better advertisement for the other Rabe books in the Stark House library than the list in the back of the book.

The Return of Marvin Palaver is quite a departure for the author, giving the reader a supernatural revenge tale that uses dialect and humor to deliver its punch. "I died at the worst possible moment in life," Marvin tells us, "just when I was coming out even."

Just when he is about to pull a masterful schwindel on his nemesis, Sidney Minsk ("may he live to be a poor man forever"), Palaver drops dead on Minsk's office floor. Unwilling to let that be the period to his life, Palaver comes back down from heaven to manipulate events toward the ultimate revenge. The Return of Marvin Palaver is sure to leave a smile on the reader's face with its perfect plotting and characterization.

Sure to be the big draw in this collection is The Silent Wall. Radio man on a tanker, "Matty" Matheson finds himself once again in Sicily, in Messina near Forza d'Aguil, where he was stationed during the War. With a week to kill before the tanker is repaired, Matty decides to revisit his past and rents a Vespa to go "see how things have turned out — for her."

For some reason he does not understand, the Mafia now don't want him to leave and have sabotaged his exit. And to make things more complicated, the only person offering assistance is an innkeeper, Vinciguerra, who talks in riddles. The only real respite he finds comes in the person of the waitress Sophia, but any reader of noir fiction known you can never really trust the dames.

It's been almost forty years since the world has seen a new Rabe novel, and The Silent Wall was definitely worth the wait. It reads like the culmination of Rabe's career: a hardboiled story that depends more on the interactions of its characters than the machinations of its plot, their conversations holding as much appeal as their actions.

Never before have I found so engrossing a story where basically the same thing happens over and over again (Matty tries to escape and is foiled). The ending of The Silent Wall roughly switches gears, becoming a strange combination of sexy and confounding that nevertheless keeps the pages turning to the finish. Though I read the tales here in a different order than the publisher intended, I think I made the right choice as the quality seemed to get better with each one.

Living After Midnight: Hard and Heavy Stories, edited by David T. Wilbanks and Craig Clarke (hard rock and heavy metal inspired anthology of dark fantasy and horror stories)

I am very proud to say that my first book is now available — a project nearly two years in the making! See more below, beginning with Carrie Gowran's utterly awesome cover art, which perfectly encompasses the anthology's hard-rock and dark-fiction aspects.



Living After Midnight: Hard and Heavy Stories
Edited by David T. Wilbanks and Craig Clarke
—A Hard-Rockin' Horror and Dark-Fantasy Anthology—

WHAT HAPPENS WHEN HEAVY MUSIC INSPIRES DARK FICTION?

Living After Midnight: Hard and Heavy Stories consists of six horror and dark-fantasy stories inspired by some of the greatest hard-rock and heavy-metal bands in that music’s long and influential history. Each author was invited to submit a short story or novella inspired by the band of his choice.

You're sure to be impressed by the half-dozen diverse tales they came up with. The set list is as follows:

“Spooky Tooth” by Randy Chandler
“Iron Maiden” by Matthew Fryer
“Black Sabbath” by Steven L. Shrewsbury
“Judas Priest” by David T. Wilbanks
“Motorhead” by Kent Gowran
“Slayer” by L.L. Soares

An original lineup indeed. Grab a copy now for only $2.99 because you’ll not want to pass up the chance to read six of the sharpest, savviest, hardest, and heaviest stories published this year.

Reviews:

"One of the things that make having an e-reader worthwhile." — Dead in the South

"Heavy metal horror heaven." — Ginger Nuts of Horror

"A good variety pack of scary stories ... an easy read, and a satisfying one." — Patrick D'Orazio

Now available on:
Amazon
Diesel
Sony
Smashwords.

Guest Blogger: Scott Gese: Rope and Wire Short Story Competition

The Western website, Rope and Wire, has been online for three and a half years now working hard to promote the Western genre through a variety of avenues. The approach seems to be working. Since day one, Rope and Wire has seen steady growth not only in the amount of its high-quality content but also in the number of its loyal followers.

The main idea behind Rope and Wire is to promote the Western genre through new, up and coming, and established Western authors. But the site doesn’t limit itself to just authors. It includes many other Western venues.

Short stories are a great way to introduce new readers to what Western authors actually write about. It gives them a feel for the genre that will hopefully continue to grow and mature, possibly translating into the sale of a few Western novels.

In a constant search for new ways to promote the genre, the Rope and Wire website has begun accepting submissions for their very first Western short-story competition. The competition is open to both novice and established authors. It creates an opportunity for the top five winning authors to have their work promoted by Rope and Wire and helps authors gain some valuable name recognition.

The competition, although somewhat conventional, does have several unconventional aspects to it. The first is that submissions will not be accepted by postal mail. All submissions are by email. While there is the possibility that this will reduce the total number of submissions, Rope and Wire believes in keeping up with the times.

As I’ve often said; “Even though the setting we write about is one hundred and fifty years in our past, we don’t write about it with fountain pens. For the most part, we use keyboards and computers.” So to me, it only makes sense to take a more modern approach for both story submissions and fee payments, which brings up the second unconventional aspect of this competition.

All submission fees are paid electronically through PayPal. This is a virtually instantaneous form of payment. After all, if the story submission is being sent electronically, it only makes sense to send the $15.00 entry fee the same way. No more waiting days for a check to clear before your story can be entered into the competition. I admit there are some who will scoff at this approach. But then I’ve always understood that change does not always come easy, but it does always come.

The third aspect to this competition has to do with the prize money. Most short-story competitions offer a set amount, and usually for only one winner. With the Rope and Wire Western short-story competition, we’ve decided to make prize money available to the top three winners and on a sliding scale. This means that, for each submission, the prize amount for first, second, and third place jumps $5.00, $3.00, and $2.00, respectively. So there is the potential of some rather large prizes.

The remaining $5.00 goes to pay for PayPal fees (yes, they do charge to use their service) and also to help defer the cost of keeping Rope and Wire online. If you’re interested in finding out more about the Rope and Wire Western short-story competition, or the Rope and Wire website in general, just click on the links.

Scott

Deadman's Road by Joe R. Lansdale (Reverend Jedidiah Mercer collection)

This review originally appeared in somewhat different form on The Green Man Review. Copyright 2010. Reprinted with permission.

This collection from "champion mojo storyteller" Joe R. Lansdale gathers all his stories to date featuring his cult-favorite character Reverend Jedidiah Mercer, including the complete novel featuring his debut appearance, Dead in the West. This limited edition hardcover from Subterranean Press also offers evocative cover art from Timothy Truman and over 20 interior illustrations by Glenn Chadbourne.

Dead in the West was, to my knowledge, the first zombie Western. Lansdale wrote it back in 1986 as a tribute to the kind of entertainment he grew up enjoying, like EC Comics and cross-genre B-movies like Billy the Kid Versus Dracula and Jesse James Meets Frankenstein's Daughter (both real movies, I assure you).

Reverend Jedidiah Mercer is a man of God ... sort of. He hasn't exactly been following the straight and narrow path lately, spending a good portion of his collection on whiskey. But arriving in Mud Creek changes things a bit. After an unmistakable sign from above, in addition to some soul searching of his own, the Reverend decides to get back on the right track the next Saturday, when he'll be hosting a tent revival -- if he can resist the temptations coming his way.

But what's a man supposed to do when that's the week the dead start rising from their graves? Kick some undead hind-tail, that's what! Dead in the West takes no time in getting started: the first death occurs on the fourth page. From there on, we are treated to a thorough character study combined with a thrill ride. Why the dead chose this week to resurrect themselves, and what kind of unsavory temptations may get in the way of the Reverend's redemption, are just two of the questions answered in this exciting short novel with more than its fair share of cowboys smashing brains.

This cross of horror and Western does justice to both. And yet, Dead in the West remains purely a Lansdalean effort, with the same level of horror, humor, and down-home realism that has made him so popular among other writers as well as his rabid cult of fans (in particular, his ability to frighten and amuse simultaneously while delivering folksy homilies).

Also included in Deadman's Road are two stories, the titular "Deadman's Road" and "The Gentlemen's Hotel," previously collected in The Shadows, Kith & Kin), the previously uncollected "The Crawling Sky" (from the terrific anthology Son of Retro Pulp Tales), and a brand-new short, "The Dark Down There."

"Deadman's Road" has Reverend Mercer confronting a ghoul, and "The Gentleman's Hotel" involves werewolves. "The Crawling Sky" concerns a caged lunatic, a house with "haints," a magic book, and a man-eating Shmoo. "The Dark Down There" finds the Reverend meeting up with an obese woman named Flower and a mine that is loaded with silver and populated by kobolds (goblins). Jedidiah and Flower form a partnership since fear is unlikely to overtake both of them at the same time, and go up to the mine to see what they can see. The story ends on a high point, an unexpected result in these stories.

Mercer is a wholly original character with his own set of rules. He's not always nice, but he doesn't put up with nonsense (threaten to kill him and he'll not wait for you to follow through before acting in self-defense), and he often makes a lot of sense. These stories are some of the best work the weird Western genre has to offer, and it's good to see them all collected in a single volume with Deadman's Road.

Demons of the Night and Other Early Tales by Seabury Quinn, edited by Gene Christie (Black Dog Books)

Author Seabury Quinn is probably best known to modern readers for his series of short stories featuring occult detective Jules de Grandin, as well as for his marked influence on the works of fellow author Robert E. Howard. But Quinn's career spanned sixty years: from 1917, the year "The Law of Movies" (a nonfiction article included as an appendix to this collection) saw print, to 1977, when his novel Alien Flesh was published, with at least 150 other works in the intervening years.

Demons of the Night and Other Early Tales, edited and with an introduction and bibliography by Gene Christie and published by Black Dog Books, collects Quinn's earliest known fiction along with other rarities, including the aforementioned "Law of the Movies." It is a humorous and insightful look at the way legal matters are presented on film that is just as applicable today as it was in 1917, even though its examples consist entirely of obscure silent films (none of which appear to be available on video).

The title story, "Demons of the Night," is just the kind of derivative tale — familiar but with a twist — that many an author has used as his entry to published genre fiction, and it is wholly entertaining if taken in that spirit. (The ending especially is that of an oft-told campfire story.)

"Was She Mad?" is reminiscent of classic Poe with genuine horror contained in it. Though many authors have tackled the "possessed artifact" tale, Quinn's "The Stone Image" manages to be surprisingly effective at chilling the spine, even though its tropes are all too familiar.

"Painted Gold" is one of a few surprises found by editor Gene Christie in his searches. Neither it or "Romance Unawares" have been reprinted since their publication in Young's Magazine in 1919 and 1920, respectively. In the former, Lt. Rathburn Thomas has little appreciation for the feminine form until the continuous company of men in the service puts him on the prowl. Quinn warns us with his trademark erudite humor: "When a perfectly nice young man begins to act in this way, there is danter ahead, particularly for him; for it is from such that the victims of the Strange Woman are recruited."

But despite this protest, "Painted Gold" is an unexpectedly sweet romantic tale of a fellow who meets a beautiful woman but is put off by her rouge and lipstick, since that was only worn by the cheap girls back home. "Romance Unawares" is another truly sweet story of two life-long friends whom the whole town expect to be married and who find out (of course) that they really cannot do without each other. These stories show a different side of Seabury Quinn than the other early tales in Demons of the Night, but it's one I wouldn't mind seeing more of.

"The Cloth of Madness" is most famous for its appearance in Weird Tales, but it was actually first printed in Young's, too. It's a classic tale of the cuckold getting revenge in one of the most original ways I've read. The fiction of Demons of the Night closes with two of Quinn's Major Sturdevant stories, "Ravished Shrines" and "Out of the Land of Egypt" — neither of which impressed me, though Loomis is an engaging narrator — and two from his Professor Forrester series, "In the Fog" and "The Black Widow."

It is in the Professor Forrester tales, especially "In the Fog," that I found the most direct antecedent to the style of Robert E. Howard, both in the constant action and in the varied, poetic vocabulary. "In the Fog" finds Forrester locking himself inadvertently into a "house of mysteries" that is like a trip to the Orient, and that will require all of his myriad (and mildly implausible though wildly entertaining) talents to escape alive.

I especially admired how Quinn uses the house to allow the reader to experience a globe-trotting adventure without his hero's having to leave Washington. "In the Fog" is the first of the series that appeared in Read Detective Tales throughout 1927 and 1928, and explains the origin of the woman who would later be his ward. "The Black Widow" is equally engaging, though more a mystery than an adventure.

Editor and compiler Christie brings Demons of the Night and Other Early Tales to a satisfying conclusion by offering the reader the breadth of Quinn's published work with an extensive bibliography — as full as is currently known, anyway. Given the organic nature of the discovery process, Christie considers the bibliography a work in progress and gives contact information in the introductory paragraph, welcoming any new information the reader can offer.

Brief Interviews with Hideous Men by David Foster Wallace (unabridged audio book read by the author and others)

This audiobook is read by Bobby Cannavale, Michael Cerveris, Josh Charles, Will Forte, Malcolm Goodwin, John Krasinski, Christopher Meloni, Chris Messina, Max Minghella, Dennis O'Hare, Lou Taylor Pucci, Ben Shenkman, Joey Slotnick, Corey Stoll, and David Foster Wallace.

The first story on the audiobook of author David Foster Wallace's short-story collection Brief Interviews with Hideous Men, "Death Is Not the End," seems to have been designed as a test to see if the listener is truly prepared for Wallace's fiction. The late author reads, but his narrative is so robotic as to be obnoxious. This is only intensified by the story's merely being a series of digressions (including the author's signature footnotes) with no real destination.

"Forever Overhead" is more successful, primarily because it covers a longer period of time: a 13-year-old's birthday spent at a public pool with his family. Wallace's incisive observations are keen, but his reading once again detracts from the piece -- or maybe it was because a glitch on my copy has caused most of track 5 on disc 1 to be a duplication of a later part of the story that shouldn't have played yet and that I therefore had to listen to twice.

Then there are the titular "Brief Interviews," in which we hear only the answers to a series of unheard questions. (These would be great for audition monologues.) There's the guy who shouts, "Victory to the forces of democratic freedom" upon orgasm; the guy whose "proclivities" originate from his father's need to be restrained from his own violence; a very personal interview with the questioner's boyfriend, who is tired of the questioner's insecurities....

Wallace's talent lies in showing everything, leaving nothing to the imagination, and punctuating it with wry humor and intensifying surprises. (Except in one special case where the final surprise is left up to the listener to figure out.)

...the pot grower who professes to know the difference between a great lover and a great lover; the guy who calls his shriveled arm "the asset"; the son of a washroom attendant; the fellow who argues that rape broadens the mind; the military brat whose supernatural masturbatory fantasies originate from a childhood fascination with Bewitched....

Wallace's fiction oozes pretensions, though Brief Interviews with Hideous Men is never unlistenable. Sometimes it's overlong and feels too much like hard work, but it's entertaining. And every so often there's a true gem, a piece so complete that it's like being rewarded for the effort of the rest. Even the title of "Suicide as a Sort of Present" adds to instead of just summarizing the experience.

...the man who loves everything about women; the duo arguing over how difficult it is to deduce what women want, given what you're working with; the guy who finds a "flake" more fascinating when he hears her rape story. The mere breadth of hideousness contained here is remarkable.

This new, unabridged edition of Brief Interviews with Hideous Men — the portions read by Wallace are taken from a previous, abridged recording — has evidently been produced to tie in with the recent film version adapted and directed by John Krasinski (best known as Jim Halpert from The Office). It includes several cast members performing their roles from the film.

Friday's Forgotten Book: My Lolita Complex and Other Tales of Sex and Violence by Max Allan Collins and Matthew V. Clemens (short story collection)

For more of Friday's Forgotten Books, visit Pattinase.

Prior to the release of their first recognized collaboration, You Can't Stop Me, Matthew Clemens collaborated with Max Allan Collins on the research and plotting of nearly all of his popular TV tie-in series (CSI, etc.). Between novels, they have slowly built a cache of short stories published in various magazines and anthologies. My Lolita Complex and Other Tales of Sex and Violence collects nine of those stories. It is a slim volume, but it really packs a punch.

It is a motley collection, to be sure, with stories based on Buffy the Vampire Slayer and Hellboy, as well as pastiches of such cultural landmarks as James Bond and The Thin Man. Those only familiar with Collins's and Clemens's tie-in work may be surprised by the range present in My Lolita Complex, but probably not by the authors' adeptness with the characters of others, displayed in five of the nine stories.

Putting the weaker tales at the beginning isn't the greatest idea, but it gets them out of the way. "A Woman's Touch" is a mostly pointless Civil War story with an admittedly surprising ending, and "A Pebble for Papa" (the authors' first collaboration), is a tedious Prohibition-era mob tale.

I don't know how Collins and Clemens managed to write a story faithful to both the Buffy the Vampire Slayer mythos and also to Collins's own specialty (1940s private eye with connections to Frank Nitti), but "Stakeout on Rush Street" offers the best of both worlds. Hellboy meets cryptozoology in "I Had Bigfoot's Baby!" which shows the crimson hero investigating the title legend for the Bureau of Paranormal Research and Defense — and finding more than he bargained for.

In "Sand on the Beach" and "Lie Beside Me," Collins and Clemens bring forth international superspy John Sand — the "inspiration" for James Bond — and show that even a retired and newly married intelligence agent has made too many enemies to expect peaceful marital bliss, even when that marital bliss is as healthy (and happens as often) as occurs in these stories. There is a lot of humor, especially in "Lie Beside Me," as Sand discovers that, even in marriage, sexual shenanigans can be dangerous.

In "East Side, West Side," Collins and Clemens bring their own touch to Nick and Nora Charles from Dashiell Hammett's The Thin Man — here Mickey and Maryanne Ashford, though Mickey still looks like "a taller, unmustached William Powell" — as they solve their first mystery as a couple. The inclusion of celebrity cameos harks back to Collins's Nathan Heller series, but the lighter tone reminds me more of Stuart Kaminsky's Toby Peters mysteries.

All three of the previously mentioned stories were originally the first chapters of novels for a publisher that wanted to produce sexy books for and about married couples, and Collins and Clemens add a lot of spice to these relationships. Another story that was originally the first chapter of a novel (the inaugural CSI release, Double Dealer) is "Graveyard Shift," which has been rewritten with a more shockingly unexpected finale that suits the theme of My Lolita Complex perfectly.

Finishing up, the title story, "My Lolita Complex," is a bit of a disappointment. It is lurid in all the right ways but also predictable, and the details of Clemens's life used as atmospheric details were distracting. I would have thought this was Collins's and Clemens's first collaboration had I not known that "A Pebble for Papa" held that claim. "My Lolita Complex" is not a bad little tale; it simply lacks the extra touch necessary to take it to another level and end the collection with a "wow finish."

All in all, however, My Lolita Complex and Other Tales of Sex and Violence is an entertaining volume of sexy and violent stories. Fans of Max Allan Collins's and Matthew Clemens's other collaborations like You Can't Stop Me should enjoy this shorter side of their fictional output.

Guest Blogger: Stephen D. Rogers, author of Shot to Death (short story collection)

Today, I have the honor of welcoming author Stephen D. Rogers to the pages of Somebody Dies. His latest collection is Shot to Death, which features "31 Stories of Nefarious New England."

I asked Stephen about the origin of "Packy Run," one of the stories contained in Shot to Death.

"Before Neil met me, he didn't know what a packy was."

So begins one of the 31 stories contained in Shot to Death. Within that beginning lurks the ending to the story and everything that happens between the beginning and the end. Or at least it seems that way to me.

(In this part of New England, a liquor store is also called a package store, or packy. A "packy run" is thus a trip to the liquor store.)

That first sentence tells me that Neil and the narrator are new acquaintances, and that Neil is an outsider. Given the number of college students that migrate to New England, Neil and the narrator could easily be roommates.

The sentence sets up the narrator as a teacher, instructing Neil in the ways of the packy. That in turn sets up a future situation where Neil will teach the narrator something.

Since the story starts with the two getting liquored up, I tend to doubt that Neil intends to show the narrator a really neat card trick. I can't help thinking, "Before I met Neil, I didn't know the meaning of trouble."

As the first word is "before," I imagine the story will resonate with "after." As the emphasis is placed on the two meeting, I imagine the story will end with them parted.

Noted also is that the sentence doesn't read, "When I met Neil, I had to teach him what a packy was." The story will not be about becoming wiser, but about what "he didn't know."

I'm thinking that this story is not going to find a home at A Cup of Comfort for Roommates. Chicken Soup? Maybe broth is the only thing that stays down the next day.

I can see where this packy run leads. All that remains is the writing.

For a chance to win a signed copy of Shot to Death, click on over and submit your completed entry. Then visit the schedule to see how you can march along.

And then come back here to post your comments. Phew.

Stephen D. Rogers is the author of Shot to Death and more than six hundred stories and poems. He's the head writer at Crime Scene (where viewers solve interactive mysteries) and a popular writing instructor. For more information, you can visit his website, where he tries to pull it all together.

Shot to Death contains thirty-one stories of murder and mayhem.

"Terse tales of cops and robbers, private eyes and bad guys, with an authentic New England setting." — Linda Barnes, Anthony Award winner and author of the Carlotta Carlyle series

"Put yourself in the hands of a master as you travel this world of the dishonest, dysfunctional, and disappeared. Rogers is the real deal: real writer, real storyteller, real tour guide to the dark side." — Kate Flora, author of the Edgar-nominated Finding Amy and the Thea Kozak mysteries

"Shot to Death provides a riveting reminder that the short story form is the foundation of the mystery/thriller genre. There's something in this assemblage of New England noir to suit every aficionado. Highly recommended!" — Richard Helms, editor and publisher, The Back Alley Webzine

This Other Eden by Michael Hemmingson (collection of short stories and novellas)

Author Michael Hemmingson, whose works range from noir (Wild Turkey) to erotica (The Amateurs) to pop-culture scholarship (William T. Vollmann: A Critical Study and Seven Interviews), puts his wide-ranging pen to the medium of short fiction in the Dybbuk Press collection This Other Eden. All of the stories in this collection of short stories and novellas contain the word "Happen" in the title, and they all feel linked by tone if not always subject matter (though some themes do recur throughout).

Five of the tales in This Other Eden have been printed (and reprinted) in various media. (Only "What Happens When Things Happen to People" appears to be original to the collection.) Sometimes it feels like Hemmingson is trying to shock with his extreme characters; other times it merely seems like normal people aren't worth writing about (though it's often the "regular guy" who is swept up in the events).

Hemmingson has written over fifty books, and his experience shows. Not only does he inform the stories in This Other Eden with tangible details of the publishing industry, but he also imbues his characters with personalities that are displayed through his skillful use of highly individualized dialogue for each person.

"And Then It Happened" shows the dark side of winning the lottery -- or at least the dark side of people finding out you won the lottery. This story felt so real in the reading that I got stressed out whenever the phone rang for the rest of the night.

Two of the shorter pieces, "Nothing Like That Ever Happened" and "What Happens Between Literary Agents and Clients While in New York," feature barely pubescent bestselling female authors putting their sexual fantasies on paper. But each is approached in a completely different manner than the other, "Nothing" feeling more genuine emotionally while "Agents" takes a more outrageous tack.

In "What Happens When Things Happen to People" Edmond and Ivy move to the city, pursue careers, and get a hell of a lot more than they wished for. It's a terrifically told and totally engrossing story, filled with a detestable yet engaging supporting cast, that would fill a novel in the hands of a less strict prose-wrangler.

The centerpiece, at over a third of the book's length, is "Now That I Know What Happened, Could You Hold Me, Please, and Say This Is Love?" (recently expanded into the novel Shabby Town). It is the story of some time in the life of Paul Augustine, where he begins with thievery and ends with personal fulfillment. Yet nothing that happens inbetween feels forced or contrived purely to suit Hemmingson's purposes. It's a completely absorbing experience filled with real people, real problems, and really bad decisions that sometimes turn out OK.

These are stories of father and mothers, sons and daughters; of writers and teachers, agents and whores; of crack and pizza and champagne; of attacks variously political, physical, emotional, and sexual; of infidelity and loyalty; of friendship and love; of desire, ambition, and greed. Hemmingson covers the gamut of feeling and experience with This Other Eden, certainly the most impressive and consistently high-quality short fiction I've read in some time.

I didn't know anything about Hemmingson's fiction (apart from the private-eye/zombie story in Badass Horror) before I received this copy of This Other Eden for review. But based on the highly effective writing in this collection, I'm going to go searching for more very soon.

Further reading
Other Dybbuk Press titles:
Teddy Bear Cannibal Massacre edited by Tim Lieder
The Big Bow Mystery by Israel Zangwill

Other single-author collections:
The Overland Kid by Max Brand
The Nightmare Chronicles by Douglas Clegg
The Horror Stories of Robert E. Howard
Walk in Shadows by Nicholas Kaufmann

Kull: Exile of Atlantis by Robert E. Howard (heroic fantasy / sword and sorcery)

Kull: Exile of Atlantis is my first single-character collection from the recent reprints of Robert E. Howard. The other books I’ve read, in order, are The Horror Stories of Robert E. Howard, Shadow Kingdoms: the Weird Works of Robert E. Howard, Volume One, and Crimson Shadows: The Best of Robert E. Howard, Volume One. (Apparently, good old REH wrote so much, publishers have to either divide his work according to character and genre, or just split the whole thing into multiple books.)

This collection focuses (obviously) on Kull, the man born in Atlantis in 100,000 B.C. who usurped the throne of Valusia to become its king. A good deal of Howard readers know Kull only as the progenitor of his most famous character, popularly known as Conan the Barbarian, since the unsold Kull story “By This Axe I Rule!” was rewritten into the first Conan story, “The Phoenix on the Sword,” with extra fantasy elements added to make it more palatable to editors.

Reading the former in the pages of Kull: Exile of Atlantis merely proved my original opinion (gained when I read the three primary Kull stories — those published in Howard’s lifetime — in the collections mentioned above) that Kull is a far more interesting character than Conan. Kull’s more thoughtful, and his stories are more based in reality, mythical setting notwithstanding.

Just comparing the two stories I mentioned in the last paragraph, it’s obvious just how many extra fantasy elements were added to the Conan version, while Kull uses sheer force of will to make his point known — and he does it with a shorter word count. Howard let his prose run unleashed while writing of the Cimmerian in a way not seen in his other, more tightly written tales. With the result that I consistently — even now, halfway through The Coming of Conan the Cimmerian — find my mind wandering while reading them, something that never happened with the stories in Kull: Exile of Atlantis.

Opening the collection is "The Shadow Kingdom," the first Kull story, in which Kull meets his own attempted usurpers in the Serpent Men, a fascinating race of snake-headed individuals who deal in mesmerism and shape-shifting. Kull has to struggle with his own doubts to maintain the throne.

Many consider Howard’s debut of another character, the Solomon Kane story “Red Shadows,” to be the beginning of the sword-and-sorcery genre, but "The Shadow Kingdom" also has its supporters for that title, with the main difference being the former's use of a realistic setting. Kull lives around 100,000 years B.C. and was born on a mythical island, while Kane is a 16th-Century English Puritan.

"The Mirrors of Tuzun Thune" finds Kull in a melancholy mood. His friend Brule the spear-slayer suggests a night on the town, but that does not appeal. Later, a blonde with "violet eyes" recommends a visit to Tuzun Thune, a wizard who shows Kull his hall of mirrors. Kull sits before one often, expostulating on which Kull is the real one. Sounds like Kull didn't take his meds. After such a heroic turn in "The Shadow Kingdom," this story may disappoint some. But perhaps it was merely the author's way of putting a little of himself in his work, given Howard's own notorious bouts with depression. It certainly seems like being king isn't all it's cracked up to be.

"Kings of the Night" brings Pict king Bran Mak Morn and Kull together through an ancient lineage. A wizard conjures Kull up from the ancient past when Bran's potential fighters ask for "a king, neither Pict, Gael, nor Briton" to lead them against the invading Romans. This is truly one of the great battle stories, with realism, history, and myth blended in ideal measure.

Other highlights of Kull: Exile of Atlantis include the novella-length “The Cat and the Skull,” the final Kull story “By This Axe I Rule!” (which is far more powerful than the Conan story it later spawned, “The Phoenix on the Sword”), and some other fragments that featuring Kull's own progenitor, Amra of the Ta-an. I swear, sometimes reading these Howard collections is a bit like watching evolution in action. One gets to see how a single character developed from a Ta-an to the king of Valusia to the world’s most famous barbarian. It's a process that is available to the enthusiasts of very few authors, and we are lucky that so many of Howard's unfinished works have survived.

The unpublished stories in Kull: Exile of Atlantis give a terrific portrait of Howard’s method. Howard was never averse to plundering his slush for its best ideas and using them again in other stories. “The Phoenix on the Sword” is only the most successful example of this, but “Swords of the Purple Kingdom” also contains elements from “By This Axe, I Rule!” It also seems to be retelling the aspiring newlywed story from “The Cat and the Skull,” but there are enough other ideas — including the legendary Battle of the Stair — here to make it well worth the reading.

Similarly, included drafts of a few stories like “The Shadow Kingdom” and “The Cat and the Skull” (the draft is titled “Delcardes’ Cat”) offer insight to those interested in Howard’s self-editing skills (or his incorporation of editorial suggestions, as the case may be). (I could have my timeline wrong as to when the stories were written, however, and perhaps “Swords of the Purple Kingdom” predates them both and Howard simply decided they belonged in separate tales.)

In short, Kull: Exile of Atlantis is another example of author Robert E. Howard's amazing storytelling. Those new to Howard's work may want to start with a more varied collection, like those mentioned in the opening paragraph, but readers who already appreciate Kull and what he has to offer — or those who just want to dive yet again into Howard's marvelous prose — will find a lot to enjoy here.

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.

Crimson Shadows: The Best of Robert E. Howard, Volume One (edited by Rusty Burke, illustrated by Jim and Ruth Keegan)

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 Cimmerian hero popularly known as Conan the Barbarian. His range of talent, however, is becoming better known, as pulp-era fiction regains a modern readership. Subterranean Press and Del Rey Books are doing their part to keep Howard's name in front of book-buyers with, respectively, their limited-edition hardcover and affordable trade-paperback collections of his work. Crimson Shadows: The Best of Robert E. Howard, Volume One is the first of two "best of" retrospectives.

Compiler and editor Rusty Burke has done a great job selecting 16 stories and 12 poems that offer an idea of the range of Howard's output. Helping him in his selection was a poll of Robert E. Howard fans; 19 of the top 25 vote-getters are included. Everything from sword and sorcery to adventure to horror, from crime to boxing to Westerns, is showcased here. This does give the collection a scattered feel sometimes, but what holds them all together is the quality of the author's writing.

Both versions of Crimson Shadows are illustrated by Jim and Ruth Keegan. I find their art serviceable but too static for Howard's active prose. It probably would have been good enough had I not first read The Horror Stories of Robert E. Howard, illustrated by Greg Staples. His art in that collection is so emotionally and physically realistic, often seeming to glower or move on the page, that it makes the Keegans' work pale in comparison. Rarely do the couple choose to depict action scenes, and when they do, the positions feel posed, where Staples seems to catch his subjects in mid-motion.

For Keegan devotees, however, the Subterranean Press limited edition hardcover is a must have. It is not only signed by the artists but also has four new color plates (one of which also serves as new cover art) not included in the Del Rey trade paperback.

Opening the collection is "The Shadow Kingdom," featuring Kull from Atlantis, usurping king of Valusia. Kull meets his own attempted usurpers in the Serpent Men, a fascinating race of snake-headed individuals who deal in mesmerism and shape-shifting. Kull has to struggle with his own doubts to maintain the throne. Though similar in many ways to the later character of Conan (the first Conan story was a rewritten Kull story), I find Kull superior due to his tendency toward deeper thinking. (He appears twice more in this collection.)

"Red Shadows" introduces Howard's 17th-century Puritan hero Solomon Kane. Avenging the death of a young woman, Kane travels for years to find Le Loup ("the wolf"), meeting "good juju man" N'Longa — who later plays a larger role in Kane's life — for the first time. Howard doesn't shy away from the action here, putting Kane in peril no less than three times. Many consider this the beginning of the sword-and-sorcery genre — "The Shadow Kingdom" also has its supporters for that title — with the main difference being this one's use of a realistic setting (Kull lives around 100,000 years B.C.). I've experienced "Red Shadows" multiple times, in print and audio, and it never loses its power to entertain. Both Kane and Le Loup are indelible characters, and the action sets up Kane admirably well for his later stories. (The poem "One Black Stain," also included here, has Kane stand up to Francis Drake in the face of an execution.)

In "The Dark Man," Turlogh Dubh goes to save a girl from his family though his family no longer recognizes him. This story is a terrific adventure with a surprise that connects it to another Howard stalwart, Pict king Bran Mak Morn. "Kings of the Night" brings Bran and Kull together through an ancient lineage. A wizard conjures Kull up from the ancient past when Bran's potential fighters ask for "a king, neither Pict, Gael, nor Briton" to lead them against the invading Romans. This is truly one of the great battle stories, with realism, history, and myth blended in ideal measure.

Sailor Steve Costigan is confronted with the prospect of a dog fight involving Costigan's best pal Mike, a bull dog,in "The Fightin'est Pair." This story, one of Howard's famous boxing yarns, showcases in a surprisingly sensitive manner, without getting blubbery, the love of a man (who talks with his fists) for his dog. Those wondering if Howard had a more romantic side need only read "For the Love of Barbara Allen," a story of love across time, told in the style of a Southern folktale. I was so surprised at how moving it was, that it just may be a new favorite.

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. 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 "The Black Stone," especially by the fact of its tangential relationship to "Worms of the Earth" (wherein Pict king Bran Mak Morn searches for the same Black Stone). Read together, they immerse the reader in a fascinating otherworld in a way that would be impossible encountering the pieces individually.

As you may surmise from the title, "Lord of the Dead" is less a mystery than an adventure tale, though it is up to oversized detective Steve Harrison to figure out why someone who died 30 years ago is trying to kill him right now. The confrontation with Erlik Khan was reminiscent of The Mask of Fu Manchu, but I'm still interested in reading more about this "big dick" (as the narration refers to him) because, unless I miss my guess, Harrison is the first detective to so deftly use an ancient axe against his enemies.

Though many Howard fans are bound to be appalled, I must state here that his most famous character, Conan the Cimmerian, is vastly overrated. I've read around half a dozen of the author's Conan stories and, apart from Howard's wonderful way with words, have found little to impress. Conan seems rather uncomplicated when compared to Solomon Kane or Bran Mak Morn, and Howard seems to run off at the pen writing of the barbarian in a way not seen in his other, more tightly written tales. (By far the longest, these two stories alone take up just under one-quarter of the book's 500 pages.) The result is I consistently found my mind wandering during "The People of the Black Circle" and "Beyond the Black River," something that never happens with his other work. Since I had not read these two before — and since they are considered the best of the best, so to speak — I was more than willing to let them convert me. But they did little but confirm my belief that Conan, while a source of great pleasure for many, is simply not for me.

But the Cimmerian has been popular from the beginning, and perhaps with good reason. Howard himself stated in a letter to Lovecraft that "his supernatural adventures aside — he is the most realistic character I ever evolved... he seemed to step full-grown into my consciousness when I wrote the first yarn of the series." So, Howard may have continued to write Conan's adventures if not for the convergence of two things: his steadily growing interest in the facts and legends of the West, and a steadily growing sum of money owed to him by Weird Tales. Both combined in such a way that Howard write primarily Westerns until his death.

"The Valley of the Worm" distinguishes itself from a plethora of sword-fighting stories by virtue of its unexpected conclusion. In most other ways, it is merely average Robert E. Howard, though any story that features the beheading of a giant snake (another mythos link?) is OK in my book. "The Grey God Passes" is the story of heroic Conn the kern and his role in the historic Battle of Clontarf. It contains a full-fledged epic story in just 30 pages.

"Hawk in the Hills" is the second of the five El Borak (Arabic for "the swift") tales published during Howard's lifetime. And the man who was born Francis X. Gordon is certainly fleet of foot, finger, and faculties, but he also talks too much, which often slows down the action in an otherwise fine story. This Texas gunfighter transplanted to the Middle East (Howard reportedly created the character when he was ten) gives the author the opportunity to write a Western character who confronts the same kind of exotic villains his other heroes did.

Breckinridge Elkins, Howard's most popular Western character by far, intends to bring a pretty schoolteacher from nearby Chawed Ear to Bear Creek by whatever means necessary in "Sharp's Gun Serenade" ("Bear Creek is goin' to have culture if I have to wade fetlock deep in gore to pervide it"). This was the last of the Elkins stories, and it is told, like the rest, in a "tall tale" style peppered with low-brow humor and Howard's deft touch with dialect.

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, like in selection from "Beyond the Black River": "A heavy chopping crunch sounded behind the leaves. The bushes were shaken violently, and simultaneously with the sound, an arrow arched erratically from among them and vanished among the trees along the trail."

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.

Readers 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. "The Song of a Mad Minstrel" seems to be sung by a demonic entity. It is filled with Howard's wonderfully specific word choices, like "There were crimson gulfs unplumbed, there were black wings over a sea; / There were pits where mad things drummed, and foaming blasphemy." The selection of "The Dust Dance" included is particularly effective in illustrating the epic span of man, as told by one of the first. "The Tide" has much the same effect as "For the Love of Barbara Allen." And that's just three of the dozen poems that act as palate cleansers of a sort to Crimson Shadows. 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 Crimson Shadows: The Best of Robert E. Howard, Volume One 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. Other extras include a foreword from the Keegans, an introduction and a short bio of Howard from editor Burke, and Charles Hoffman's "Robert E. Howard: Twentieth Century Mythmaker."

As a final note, I would just like to mention that, before being introduced to the work of Robert E. Howard, I was under the impression that fantasy was a tired genre with nothing to offer me. Also, short stories held no appeal. These two perceptions were turned on their ears upon entering Howard's world. After only one book, The Horror Stories of Robert E. Howard, I was an instant enthusiast, and Crimson Shadows has given me all the more reason to remain that way. It confirms my opinion (formed by the Horror Stories) that Robert E. Howard was a Great Writer and one who deserves to be reevaluated by those who feel that men who do their best communicating with swords, guns, and large fists are not to be taken seriously. This collection strongly suggests otherwise.