Reviewed by TONY BAER:

   

RICHARD WRIGHT – The Man Who Lived Underground. Library of America, hardcover, 2021. [Previously unpublished novel from the 1940s. It saw publication in Wright’s lifetime in Accent, Spring 1942. and only in drastically condensed form; it was later included in the posthumous short story collection Eight Men (1961).] Harper, softcover, 2022.

   Black dude gets off work, heading home to his pregnant wife, minding his own business, gets stopped by the cops. Who accuse him of murder.

   He’s innocent, but the cops’ll hear nothing of it. They give him the third degree, smack him around til he cannot see, then make him sign a confession.

   He escapes custody, leaping into manhole, hiding in the sewers.

   While in the sewers, he finds that he’s able to break into basements and get what he needs to survive. And more.

   One basement yields a workman’s lunch box with thick pork chop sandwiches and a nice juicy apple. A radio. And a toolbox. Another is the basement of a jewelry store, he pockets a bunch of diamonds and golden rings. Another is a butcher shop where he takes a cleaver. Another has a safe full of cash and coin.

   He takes the plunder back to an unused storage basement in a Black church, listening to the hymns, to all the guilt and sighs and cries of the parish as they pray forgiveness for a crime they never done.

   What is the meaning of all this plunder, he wonders. The cash has no use for him as he hides out beneath the city. He has all he needs. He wallpapers his dwelling with hundred dollar bills using glue from the tool chest. He hangs the rings on nails he plants in the wall. The diamonds he stamps in the floor, like stars in the sky. In reverse.

   Suddenly he realizes that, despite his indignation at being accused of a crime he never committed, we’re all guilty. And the sooner we realize that we’re all guilty, and lay down our arms, our guns, our cleavers, our pride, our defenses, our petty larcenies, our pretense, the sooner this world can be won.

   The sooner this world can be one.

   So, after a time, he decides to come back up for air. To test his way in the world again.

By this time, the cops have forgotten all about him, having found the actual murderer. But he can’t leave well enough alone. He has to convince the cops that he IS guilty. Perhaps not of that crime but of others. Of taking the jewelry, the rings and the money.

   The cops don’t understand him. They figure he’s gone mad. But just the same, can they leave such a madman loose? Or shall he be condemned?

         ———–

   The best thing I’ve read in an awfully long time. Enjoyed it a heckuva lot more than Native Son. It reads like a cross of Cozzens’s Castaway and Kafka’s Trial, with a dash of “The Grand Inquisitor” at the end. It’s realistic enough to be realism, and in fact was based on an actual series of crimes committed underground via a sewer network. But the power of the thing comes from the fact that while it sounds in reality, it sounds equally in allegory. And you (as well as the protagonist) have a sneaking suspicion that something of terrific theological meaning is right at the cusp. This is where Kafka and the Grand Inquisitor come in. Nothing is stated in any express way and no conclusions are reached. But ambiguity yields a power and responsibility split with the reader. You’re left figuring. Forevermore.

   The edition I read also had an enlightening essay about the composition of the piece by Wright called “Memories of my Grandmother”. He talks about how, in his work, there are two sections. The first section is BEFORE his character is ‘broken’ and the second section is AFTER they’re broken. Something happens in a novel, perhaps a crime, that rifts the character from their ordinary life. They think they know what life is all about. And then something happens. And they are thrown from their life into a new ambiguity where none of their prior truths hold true.

    The character becomes supple in the writer’s hands, like Gumby, and the author can do anything with them at this point. All meaning becomes unhinged and ready to be rehung however you like in a world turned upside down. It’s the best thing I’ve read describing the effectiveness of the crime novel in communicating the experience of absurdity in a world gone noir.

A 1001 MIDNIGHTS Review
by Marcia Muller

   

LESLEY EGAN – A Case for Appeal. Harper & Brothers, hardcover, 1961. Popular Library, paperback, date?

   Lesley Egan is a pseudonym for Elizabeth Linington, who also writes under the name of Dell Shannon. The author is well known for her three series of police procedurals done under these names, and while the procedure is very sound, it is interest in the recurring characters’ lives and personal problems that seems to draw readers to these popular books.

   A Case for Appeal introduces Jewish lawyer Jesse Falkenstein and his policeman friend Captain Vic Varallo. Varallo has called Jesse away from Los Angeles to the little southern California valley town of Contera to defend accused murderess Nell Varney — a woman Varallo has arrested, but whose guilt he doubts. As the story opens, Nell has just been convicted and sentenced to death for the murder of two women upon whom she supposedly performed illegal abortions. Jesse — who was called in too late to do any investigation or prepare a solid defense- intends to appeal the case. But to make a case for appeal, he must find the woman resembling Nell who really performed the abortions.

   With Varallo’s help, Jesse gets to know the families of the victims and the town of Contera itself — no small chore for a Jewish lawyer from the big city. And as he sifts through the testimony, it becomes apparent that deathbed statements from the aborted women can be taken in more than one way, and that someone is manipulating the interpretation of them. A nice romance between lawyer and client, plus Varallo’s conflict about staying in this town where he has come because of his family, a reason no longer valid — provide the provocative personal background that is typical of Egan.

   Falkenstein has an odd style of speaking that at first is confusing, but once the reader becomes familiar with it, the story — told largely through dialogue — moves along nicely.

         ———
Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007. Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

ROGER ZELAZNY “Damnation Alley.” Novella. First appeared in Galaxy SF, October 1967. First collected in The Last Defender of Camelot (Pocket, 1980). Reprinted in Supertanks, edited by Martin H. Greenberg et al (Ace, 1987). Expanded into the novel of the same title (Putnam, hardcover, 1969). Nominated for a Hugo Award in Best Novella category (placed third). Film: 20th Century Fox, 1977 (with Jan-Michael Vincent (as Tanner) and George Peppard).

   Damnation Alley is the cross-continent route from Los Angeles to Boston, some years after the Bomb. The plague has hit Boston, and Hell Tanner is one of the drivers sent out with the essential serum [they need]. Armored cars are necessary to avoid radioactivity, mutated monsters, and violent storms.

   Tanner is an ex-convict, a Hell’s Angel gangleader, who is forced into leading the caravan with the promise of a full pardon. It is his story, his changing reaction to the job he must do, with side glimpses into the resiliency of man. There is, of course, a tremendous build-up of tension and emotion as Boston gradually becomes reachable.

   Zelazny’s picture of a new world is both beautiful and horribly terrifying: do you believe that?

Rating: *****

— June 1968.

   

Reviewed by TONY BAER:

   

FREDERICK NEBEL – Fifty Roads to Town. Little, Brown & Co., hardcover, 1936. Mercury Book # 33, digest paperback, date? Film: 20th Century Fox, 1937 (starring Don Ameche & Ann Sothern; director: Norman Taurog).

   Bunch of strangers get stranded in an Northwoods hotel in a blizzard. Focus is on a nebbish fire extinguisher salesman who’s gone missing. Very 30’s. The interest comes from the interplay between the various types: flapper, repressed aristocrat bent on murdering his rival, his rival, a rugged independent sort, a drunken Nordic dog sled champion, an overbearing housewife, Gilligan and Skipper running the hotel.

         —

   Just when you think it’s screwball, it turns melodramatic on you. It’s a fairly light invention, with tight dialogue and well drawn characters drawn from central casting. All dressed and ready to be made into a film. With a bow.

   I liked it fine, but it’s not why I went looking for Nebel. It’s not hardboiled crime and only vaguely hints at his Black Mask roots. Action and dialogue is economically worded and the thing moves at a brisk pace.

   

   Just announced: Aesop’s Travels [as by Daniel Boyd, a pen name of Dan Stumpf] has just won the SPUR Award from Western Writers of America for Best Traditional Western Novel.

https://www.einpresswire.com/article/694525580/western-writers-of-america-accounces-2024-spur-award-winners-and-finalists

   I reviewed it here:

A Western Fiction Review: DANIEL BOYD – Aesop’s Travels.

REVIEWED BY BARRY GARDNER:

   

KAREN KIJEWSKI – Honky Tonk Kat. Kat Colorado #7. Putnam,  hardcover, 1996. Berkley, paperback, 1997.

   I think Kijewski is in the  group (along with Barnes, Grant, and Rozan) of female PI writers just below Muller and Grafton, and ahead of Paretsky and everybody else. My only quarrel with her lies in her seemingly gender-linked trait of endowing her heroine with obnoxious friends and/ or relatives.

   A childhood friend of Kat’s is a country and western star now, and she’s got troubles. Someone is sending her notes that are disquieting and vaguely threatening, and she wants Kat’s help. She’s not being very forthcoming about her past, though, and Kat is having a hard time getting a handle on it all. There’s an abusive ex-husband, a father that vanished when she was two, and a cousin who’s popped up from out of nowhere who wants to be a star, too, and who knows what else. Then someone is killed.

   Interesting that Kijewski and Muller both chose a country and western star background for their latest, though there aren’t many other plot similarities. This is a good, solid PI novel, of a piece with Kijewski’s earlier work except for a welcome lessening of Kat’s personal problems and the presence of her aforementioned obnoxious friends and relatives. See, Karen? You can do it.

   Good first-person narration, interesting background, good book.

— Reprinted from Ah Sweet Mysteries #26, July 1996.

   

      The Kat Colorado series

1. Katwalk (1989)
2. Katapult (1990)
3. Kat’s Cradle (1992)
4. Copy Kat (1992)
5. Wild Kat (1994)
6. Alley Kat Blues (1995)
7. Honky Tonk Kat (1996)
8. Kat Scratch Fever (1997)
9. Stray Kat Waltz (1998)

REVIEWED BY DAN STUMPF:

   

COMPTON MACKENZIE – Sublime Tobacco. Chatto and Windus, UK, hardcover, 1957.

   Nowadays, when smoking is the eighth deadly sin, and smoking indoors constitutes a 4th degree misdemeanor, it’s oddly refreshing to read a book in praise of pure evil.

   According to Wikipedia, Mackenzie was well-known in his day as “a writer of fiction, biography, histories and a memoir, as well as a cultural commentator, raconteur and lifelong Scottish nationalist,” and his name is occasionally resurrected today through the miracle of television, as the author of Whiskey Galore  and Monarch of the Glen.

   This, however, is something completely different (*). A history and personal memoir of the stuff we set on fire, stick in our mouths, and suck on it.

   I should say at the outset, it’s mostly rather dull, then hasten to add that the part that ain’t dull is a really great read. And it comes at the beginning, so you don’t have to plow through a lot of soporifics to get there. Sublime Tobacco   opens with a quietly rhapsodic mix of tales from the author’s own life and those of his puffing acquaintances: an autobiographical accolade to the stuff of coffin nails,

   I was particularly charmed by the account of how he and his brother used to filch Daddy’s cigar butts from the ashtrays and smoke them in homemade pipes. When the old man got wise to it, he went for the time-honored cure-and-punishment: Gave them each a big cigar and ordered them to smoke it down to a stub. Mackenzie’s description of their delight and father’s dismay as the boys smoked cigars (at age 7 and 9) with pure enjoyment, then asked for another is a joy to read. And just as much fun, in a very different vein is his account of how he saved lives by calmly smoking two cigarettes outside the British Embassy in Athens during an anti-anglo riot.

   Sublime segues smoothly from anecdotes to critical evaluation, taking time along the way to throw in personal bits of business involving the various and sundry means and methods of filling one’s lungs with noxious smoke. He concedes the convenience of the cigarette, lauds the luxury of the cigar, but like any intelligent man, he gives primacy of place to the Pipe.

   Mackenzie’s catalogue of his own pipes, past and present, his analysis of form and function, shape and texture, and his nuanced descriptions of the tastes and aromas of the tobaccos of the world are vivid enough to discolor teeth in an avid reader. This is the work of a truly skillful writer, and his love of the subject is so evident and tender that I felt myself tearing up at times.

   Or maybe smoke got in my eyes.

(*) Thanks, Monty Python

Reviewed by TONY BAER:

   

GEORGE HARMON COXE – Murder with Pictures. Kent Murdock #1. Alfred A. Knopf, hardcover, 1935. Dell #101, paperback, 1945. Dell #441, paperback, 1950 [cover art by Robert Stanley]. Perennial Library, paperback, 1981. Film: Paramount Pictures, 1935, with Lew Ayres as Kent Murdock.

   Kent Murdock is a crime scene photographer. But in this one, he’s got an ulterior motive. His wife, who he’d like to be rid of, wants $10,000 to give him a divorce. Meanwhile, a prominent lawyer has been murdered. The reward for solving it and selling the story? $10,000. So Murdock decides not to play it straight with the cops, and tries to solve the thing on his own. Which he does. But not in the way you’d expect.

      —

   A very screwball 30’s crime-comedy. The repartee between Murdock and his wanna-be fiancé is quite Tracy-Hepburn-ish. And you may cast them as such in your mind.

   If you go in expecting an B+ screwball comedy, you’ll come away happy. Closer to Cukor than Cain.
   

A 1001 MIDNIGHTS Review
by Newell Dunlap & Bill Pronzini

WESSEL EBERSOHN – Divide the Night. Pantheon, 1981. Vintage Books, softcover, 1982.

   It must be strange to have one’s books banned in one’s own country, but such is the case with Wessel Ebersohn, a native and resident of South Africa who records that society as he sees it, blemishes and all. Consider his description of Johannesburg’s citizens:

   “There were the super-liberals who almost felt ashamed to be white. There were the most violent and desperate racialists who would willingly kill to protect a position of privilege. There were artists and railway workers, Jews and anti-semites, nuns and whores, millionaires and the dispossessed …”

   Divide the Night is an intelligent and provocative novel featuring Yudel Gordon, a prison psychologist who also treats private patients. One such patient is a man named Johnny Weizman, who has the rather antisocial habit of leaving his storeroom door open all night and shooting any intruder — usually blacks, of whom he has already killed eight. As far as Yudel is concerned, Weizman is a fanatic and psychotic racist; the Special Police, however, consider him a patriotic citizen, and are much more interested in a fugitive black leader named Mantu Majola who witnessed Weizman’s last murder and who just might (the security police hope) return to settle the score with the racist shopkeeper.

   Caught up in the middle is Yudel, who has troubles of his own-primarily a nagging wife who feels he does not have the proper attitude toward money. Yudel is a highly sympathetic character, well drawn and very human. Similarly, Ebersohn’s other characters come across as real people, which makes us care about the things that happen to them in, and as a result of, the restricted society in which they live.

   The New York Times Book Review called Divide the Night “a powerful book and a well-written one that just happens to fall within the genre of the police procedural.” The same could be said of the first Yudel Gordon suspense novel, A Lonely Place to Die (1979). Also impressive is Ebersohn’s non-series suspense novel, Store Up the Anger (1980).

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

LARRY MADDOCK – The Golden Goddess Gambit. Agent from T.E.R.R.A #2. Ace G-620; paperback original, 1st printing, 1967. Cover art credited to Sergio Leone.

   An inscribed plaque found in ancient Crete indicates that the time-structure of pre-historic Earth is being tampered with, possibly by a member of Empire. Hannibal Fortune and Webley trace the plaque back 10,000 years to an island continent in the Atlantic, unrecorded in history. Kronos, the ruler of his own niche in time, is actually a renegade T.E.R.R..A. agent and has established his own religion, designed mainly to perpetuate his own lineage.

   Normi, the girl saved by Fortune from a mob, tells an interesting story of palace politics, which Kronos manipulated to achieve his reign. The beginning of the book is slow, however, and the ending is a muddled mess, hardly worth waiting for. Human breeding has its problems (pages 95-96), so it is doubtful that Kronos could have really affected history. Note that Fortune is taught swordsmanship by a man called d’Kammp.

Rating: **

— June 1968.

   
Bibliographic Update: Larry Maddock was the pen name of Jack Owen Jardine, who wrote a small number of SF novels and short stories under this and several other pseudonyms in the 1960s, including Howard L. Cory, in collaboration with his wife, Julie Ann Jardine .
   

         The Agent of T.E.R.R.A. series

1. The Flying Saucer Gambit (1966)
2. The Golden Goddess Gambit (1967)
3. The Emerald Elephant Gambit (1967)
4. The Time Trap Gambit (1969)

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