Authors


A 1001 MIDNIGHTS Review
by Ellen Nehr


FRANCIS BONNAMY – The King Is Dead on Queen Street. Duell, Sloan & Pearce, hardcover, 1945. Penguin #629, paperback, 1947.

   The combination of the Great Intellect and his Loyal Chronicler has been a mainstay of detective fiction since Watson first began keeping records. Academics with plenty of time on their hands to devote to travel and detection have also always been popular. Mix these elements with a colorful wartime setting in Alexandria, Virginia, and eclectic characters who are both native to the area and transient, and you have a perfect recipe for murder.

   Peter Shane, former professor and head of the Department of Criminology at the University of Chicago, and his assistant, Bonnamy, are now living in a third-floor apartment in Alexandria while on military assignment. Both are present at a neighborhood party when much-disliked Joe Long, a well-known photographer known as “The King,” is found dead — presumably from a fall down the steps of his home.

   When it is discovered that someone had tied a string across Long’s steps, Shane and Bonnamy must attempt to clear their friends and landlady from suspicion, and their investigation focuses on the interrelationships between the party guests, each of whom had an intense reason for wishing to see Long dead. Even the family dogs and the layout of the house do not escape the pair’s scrutiny as they study the past histories of this set of oddly associated people.

   Francis Bonnamy is a pseudonym for Audrey Boyers Waltz; she wrote seven Shane/Bonnamy novels, taking full advantage of local color and geography of Chicago, Maine, Arizona, and other interesting locales. All loose ends are convincingly tied up at the ends of these humorous books, and the treatment of Shane’s detective skills is particularly good.

   Other noteworthy titles are Death on a Dude Ranch (1937), which has a Wyoming setting, Dead Reckoning (1943), which deals with murder in Washington, D.C., and buried pirate treasure on Cape Fear; and Portrait of the Artist as a Dead Man (1947), which, like The King Is Dead on Queen Street, is set in Alexandria and involves interplay among a group of diverse people in the art world.

         ———
   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.

Bibliographic Note:   Other books in this series are: Death by Appointment (1931), A Rope of Sand (1944), Blood and Thirsty (1949) and The Man in the Mist (1951).

LIAM PHILLIPS on his father, PHILIP ATLEE,
Author of the Joe Gall Books:


   James Young Phillips, a/k/a James Atlee Phillips, a/k/a Philip Atlee, was my father. The man lived large and was somewhat of an enigma to us all. He was married three times and his last marriage was to my mother, Martha Phillips. Singer-songwriter Shawn Phillips is my half-brother from a previous marriage.

   I am the Copyright Holder of Record for all of his written works, excepting the screenplays which are the properties of the studios for whom he wrote them. We are working to get the books into digital format, including an unpublished autobiography, and at least one short story compilation. Jim wrote several unproduced screenplays as well, but the publication rights to those items is a bit more tricky. We will see what happens.

   To answer a few questions: My father resisted having his photograph taken under any circumstances. He reluctantly relented for obligatory family functions and even then often did so with a pair of his trademark dark sunglasses on. He was the subject of several newspaper articles over the years and always used the same picture — black turtleneck and dark glasses.

   Said photograph was taken for an article published in a Hong Kong newspaper in the late ’60s/early ’70s. There will be plenty of photos in the autobiography, including that one. The work is slow as I am at it by myself and struggled with serious health issues for over a decade. Thankfully, those problems are now fully resolved and I am capable of doing work again.

   The man pictured on the cover of the Joe Gall novels is an Irish bartender whose name may be lost to history. He was discovered by either Jim’s agent or a representative of Fawcett/Gold Medal and seemed to fit the description of Joe Gall. He was paid a flat fee for a photograph session and was thereafter pictured on the covers.

   We have had numerous inquiries over the years re: Joe Gall film projects. We had Clint Eastwood calling in the ’70s/80s and most recently David Mamet. We’ve also had some discussion about audio books and graphic novel versions, but the process is what it is in each case. There has never been any hesitance or reluctance (or greed) on my part, I can assure you. I, too, am a fan of the works and would love to get them out there for people to enjoy in whatever format I can.

   Jim went through life traveling light — he regularly discarded of documentation and paperwork for all aspects of his life. He did so to such a degree that the sum total of his possessions at the end of his life were a few pieces of clothing, a typewriter and a box of blank paper, and a few scribbles on notepads. Clarity on copyright, history, origins, all of that stuff, has been elusive to say the least.

   My intention is to get the works, including SOME of the unpublished material, onto Amazon this year. Digitizing via OCR, proofing, artwork – for a 22 book series, plus 5 other novels, and the short stories – is a MASSIVE amount of work for even a group of dedicated people. But we are determined! The autobiography will take a bit longer, what with the photos and so forth. The book itself is quite the read from a very opinionated character who didn’t have a PC bone in his body and we are all the better for it!

   I have cruised by Mystery*File over the years, but had nothing to add as I was too ill for even the obligations of a muted correspondence.

   I want to thank every single person who has said such positive things about my father and his works (and my brother as well). You are all truly appreciated and recognized. I hope that we can do your interests justice and produce material that meets your standards and that everyone can enjoy. Many thanks to all of you amazing people!

       The Joe Gall series —

The Green Wound. Gold Medal k1321, July 1963 [New Orleans, LA]
   — Reprinted as The Green Wound Contract, Gold Medal, 1967.
The Silken Baroness. Gold Medal k1489, 1964 [Canary Islands]
   — Reprinted as The Silken Baroness Contract, Gold Medal, 1966
The Death Bird Contract. Gold Medal d1632, 1966 [Mexico]
The Paper Pistol Contract. Gold Medal d1634, 1966 [Tahiti]
The Irish Beauty Contract. Gold Medal d1694, 1966 [Bolivia]
The Star Ruby Contract. Gold Medal d1770, 1967 [Burma]
The Rockabye Contract. Gold Medal d1901, 1968 [Caribbean]
The Skeleton Coast Contract. Gold Medal D1977, 1968 [Africa]
The Ill Wind Contract. Gold Medal R2087, 1969 [Indonesia]
The Trembling Earth Contract. Gold Medal, 1969 [U.S. South]
The Fer-de-Lance Contract. Gold Medal, Jan 1971 [Caribbean]
The Canadian Bomber Contract. Gold Medal T2450, August 1971 [Montreal, Canada]
The White Wolverine Contract. Gold Medal T2508, Dec 1971 [Vancouver, Canada]
The Kiwi Contract. Gold Medal T2530, Feb 1972 [New Zealand]
The Judah Lion Contract. Gold Medal T2608, Sept 1972 [Ethiopia]
The Spice Route Contract. Gold Medal T2697, April 1973 [Middle East]
The Shankill Road Contract. Gold Medal T2819, Sept 1973 [Ireland]
The Underground Cities Contract. Gold Medal M2925, Feb 1974 [Turkey]
The Kowloon Contract. Gold Medal M3028, August 1974 [Hong Kong]
The Black Venus Contract. Gold Medal M3187, Feb 1975 [South America]
The Makassar Strait Contract. Gold Medal P3477, March 1976 [Indonesia]
The Last Domino Contract. Gold Medal 1-3587, 1976 [Korea]

THE BACKWARD REVIEWER
William F. Deeck


DOUGLAS McLEISH – The Valentine Victim. Houghton Mifflin, hardcover, 1969. Popular Library, paperback reprint, no date stated [1970?].

   While Lori Weston is at the office of the Ontario Provincial Police detachment in Farnham on Valentine’s Day reporting a possible molester as well as an aborted break-in of her home, her stepdaughter Aileen, readying herself for the Valentine’s dance, is shot six times by an exceptionally brutal murderer.

   Was the murderer the threatening figure her stepdaughters had seen, or did one daughter kill the other? Or was it possibly one of the step-daughters’ fiancés or a former boyfriend with monetary gain in mind? What is one to make of the astounding coincidence of the time of the murder, with Lori Weston provided a wonderful alibi by the police?

   While the Canadian setting isn’t particularly recognizable — the murder could have taken place anywhere in North America — that would be the only criticism I have of this novel. The investigation by Inspector John Rodericks, a fully realized character, is an excellent one. As both police procedural and fair-play novel, this one excels.

— Reprinted from MYSTERY READERS JOURNAL, Vol. 7, No. 3, Fall 1991, “Holiday Murders.”


Bio-Bibliographic Notes:   Dougal McLeish, the pen name of Donald James Goodspeed (1919-1990), wrote one other mystery, that being The Traitor Game (Houghton, 1968) in which the Canadian prime minister is assassinated. Inspector Rodericks apparently does not appear. Goodspeed, a lieutenant-colonel in the Canadian Armed Forces, and Senior Historian in the Canadian Defence Force’s Historical section, also wrote several books on Canadian history.

THE BACKWARD REVIEWER
William F. Deeck


DAVID WILLIAM MEREDITH – The Christmas Card Murders. Alfred A. Knopf, hardcover, 1951. No paperback edition.

   Four men living close together in Stelton, New Jersey, receive Christmas cards with Happy New Year struck out and an added message reading, “You will die before the old year ends.” A practical joke by a child in the neighborhood, Douglas Martin concludes. And then one of the four men is stabbed to death on Christmas Eve.

   Murder and attempted murder follow as Martin, a reporter who is recovering from polio, investigates in an effort to keep himself and others alive.

   Quite a Christmasy novel, with not only murder after a carol singing but chapter titles taken from Clement Clark Moore’s “A Visit From St. Nicholas.” Martin is a well-drawn character, as are his family and neighbors, with all their strengths and weaknesses. My only complaint would be that the author unnecessarily repeats the major clue, and that repetition immediately put me on to the murderer. Highly recommended.

— Reprinted from MYSTERY READERS JOURNAL, Vol. 7, No. 3, Fall 1991, “Holiday Murders.”


Bio-Bibliographical Notes:  David William Meredith was the pen name of Earl Schenck Miers (1910-1972). This as his only mystery novel, under either name. According to Wikipedia, Miers was “an American historian. He wrote over 100 published books, mostly about the history of the American Civil War. Some of them were intended for children, including three historic novels in the We Were There series.”

REVIEWED BY BARRY GARDNER:


B. J. OLIPHANT – Death and the Delinquent. Shirley McClintock #4. Fawcett, paperback original, 1993.

   I like Sheri Tepper whatever name she writes under. At least I think I do; I haven’t read any of her A. J. Orde books, though I’ve got one waiting. I do like the Shirley McClintock series a lot and think they’re good enough for hard covers.

   Shirley and her foreman/companion vacationing in the mountains of New Mexico after the traumatic events in the last book with her daughter Allison and Allison’s schoolmate April. April isn’t working out too well. She’s nosy, neurotic, and thoroughly obnoxious, and Shirley has decided to send her home when a sharpshooter wounds Shirley’s mule and kills April. Accident? Hard to see how it could be.

   Some strange items are found in April’s belongings, and then a newborn is stolen from a hospital nursery. Of course it all fits together but Shirley-on-crutches is damned if she sees how.

   Tepper/Oliphant/Orde’s strength has always been her characters, whether they’re cat-like aliens or independent Colorado ranch ladies. Shirley McClintock is one of the stronger and more realistic, and an altogether appealing heroine. I haven’t found anything to dislike in this series. The writing is good, the characterization excellent, and the plots haven’t strained my credulity. All of the regulars have become real people, and I look forward to seeing more of them.

— Reprinted from Ah Sweet Mysteries #7, May 1993.

       The Shirley McClintock series —

Dead in the Scrub. Gold Medal, 1990.

The Unexpected Corpse. Gold Medal, 1990.
Deservedly Dead. Gold Medal, 1992.
Death and the Delinquent. Gold Medal, 1993.
Death Served Up Cold. Gold Medal, 1994.
A Ceremonial Death. Gold Medal, 1996.
Here’s to the Newly Dead. Gold Medal.

   Sheri S. Tepper also wrote six mysteries as A. J. Orde, the leading character in these being Jason Lynx, an antiques dealer based in Denver CO. Under her own name, however, she was far better known as a writer of science fiction and fantasy, as you can see from her bibliography here. She died last month, on October 22, 2016, at the age of 87.

THE BACKWARD REVIEWER
William F. Deeck


W. ADOLPHE ROBERTS – The Haunting Hand. Macaulay, hardcover, 1926.

   Somewhat to her surprise, Margaret Anstruther has gotten a role in A Toreador’s Love, a silent picture produced by Superfilm Company. Her luck may be the result of the director’s lust for her physically, although he seems even more concerned about where she lives. And where she lives is interesting, since one night when she drops a match on the floor, a hand, with arm attached, comes out from under her bed and extinguishes the match.

   Later investigation proves that there could have been no one under the bed, but there is physical evidence that someone or something put out the flame. A policeman also sees the hand, but he’s Irish and you know about them.

   Our heroine investigates — she’s a science major, in addition to being a budding actress — and solves the problem with the help of another movie, The Masque of Life, directed by the same man who is in charge of A Toreador’s Love. Movies usually put Anstruther to sleep, but this one contains the clue that explains not all but a lot.

   W. Adolphe Roberts may have been the first black mystery writer. That I would contend, would be the only reason for reading this novel. The explanation for the hand doesn’t satisfy, and the writing is, to be kindly, second rate.

— Reprinted from MYSTERY READERS JOURNAL, Vol. 7, No. 4, Winter 1991/2, “Murder on Screen.”


Bio-Bibliographical Notes:   For more on the author, who had quite an interesting life, check out this website, where he is said to have been a Jamaican journalist, novelist and travel writer. As the editor of Ainslee’s magazine, he published many of Edna St. Vincent Millay’s early poetry and not only that, fell in love with her. He wrote two other detective novels under his own name, plus two as Stephen Endicott, one listed as marginally criminous in Al Hubin’s Crime Fiction IV.

FIRST YOU READ, THEN YOU WRITE
by Francis M. Nevins


   As I was beginning to think about how to open this month’s column, I opened the morning paper and found the answer handed to me. Ed Gorman had died. The date was Friday, October 14, a few weeks short of his 75th birthday. The cause was cancer, with which he’d first been diagnosed 14 years ago.

   He was something of a recluse among writers, leaving his home in Cedar Rapids, Iowa almost never, once reportedly turning down an all-expenses-paid trip to Europe, but managed to stay in touch with countless colleagues thanks to email and the telephone.

   Ed Gorman was one of the most prolific and compelling crime fiction writers of our generation, the author of dozens of novels and short stories under his own name and several others, plus Westerns and horror novels, plus anthologies, plus material for the Web on other writers, the list goes on and on. He was also one of the founders of Mystery Scene magazine, in whose latest issue there’s a moving tribute to him by editor Kate Stine. In so many ways, including his enthusiasm for everything he was involved in and the generosity with which he advised, mentored and supported writers younger than himself, he was the Anthony Boucher of our generation.

   Of course he never wrote science fiction as Boucher did, but then Boucher never wrote Westerns. I wish I were one of the tiny handful of writers who knew him well.

***

   Ever heard of The Digest Enthusiast? I hadn’t either, until one of its contributors, a man named Steve Carper, recently sent me a copy of the third issue (January 2016). It’s digest sized — what else would you expect? — and deals with all sorts of digest sized publications like magazines and paperback books and you-name-it.

   The subject of Carper’s contribution is the collections of short fiction by Dashiell Hammett that were assembled and edited by Ellery Queen — that is, by the Fred Dannay half of the Queen duo — mainly in the 1940s, and were published as digest-sized paperback originals under the Mercury, Bestseller and Jonathan Press imprints of Lawrence E. Spivak, the original publisher of Ellery Queen’s Mystery Magazine.

   As veteran readers of this column are aware, now and then I’ve compared a few of Hammett’s stories as they originally appeared in Black Mask and other pulps with the versions published twenty or more years later in EQMM and those digest-sized collections. Fred told me many times that every story ever written was too long. True to that belief, he had a habit of changing — usually in the form of cutting — the stories he reprinted. Even Hammett’s.

   Now I learn from Carper’s article that a man named Terry Zobeck has been systematically comparing the Hammett stories as reprinted in EQMM with the versions published in Black Mask and elsewhere decades earlier. The article offers a few examples from Zobeck’s research. One sentence in the Continental Op tale “Who Killed Bob Teal?” (True Detective Stories, November 1924) reads: “Finally she shrugged, her face cleared, and she looked up at us.” Reprinting the story in EQMM (July 1947) and in the collection Dead Yellow Women (1947), Fred put a period after “cleared” and dropped the last six words.

   Another sentence as originally published reads: “Dean and I rode down in the elevator in silence, and walked out into Gough Street.” Under Fred’s editorial blue pencil the sentence ends with “elevator”. Anyone who wants to explore this subject in exhaustive detail needs to read the long series of Zobeck’s posts on Don Herron’s “Up and Down These Mean Streets” blog .

***

   “Who Killed Bob Teal?” is one of the lesser exploits of Hammett’s nameless Continental Op, but it’s of considerable historical interest, for reasons I can’t explain without [Warning] giving away the plot. Teal, a youthful detective for the Continental agency, had appeared in a few earlier tales in the series and in “Slippery Fingers” (Black Mask, 15 October 1923) was described by the Op as “a youngster who will be a world-beater some day.”

   According to the Op in the present story, he “had come to the agency fresh from college two years before; and if ever a man had the makings of a crack detective in him, this slender, broad-shouldered lad had….[W]ith his quick eye, cool nerve, balanced head, and whole-hearted interest in the work, [he] was already well along the way to expertness.” As the head of the San Francisco branch of the agency describes Teal’s murder to the Op:

   “He was shot with a .32, twice, through the heart. He was shot behind a row of signboards on the vacant lot on the northwest corner of Hyde and Eddy Streets, at about ten last night….I would say that there was no struggle, and that he was shot where he was found….He was lying behind the signboards, about thirty feet from the sidewalk, and his hands were empty. The gun was held close enough to him to singe the breast of his coat….”

   The case he’d been working on for the past few days had been brought to the agency by a farm-development engineer named Ogburn, who suspected that his business partner, Herbert Whitacre, had been embezzling money from the firm and was about to disappear. “I sent Teal out to shadow Whitacre,” the agency head tells the Op. It doesn’t take our sleuth long to conclude that the murderer of Bob Teal was Ogburn.

   “Bob wasn’t a boob! He might possibly have let a man he was trailing lure him behind a row of billboards on a dark night, but he would have gone prepared for trouble. He wouldn’t have died with empty hands, from a gun that was close enough to scorch his coat. The murderer had to be somebody Bob trusted, so it couldn’t be Whitacre…. There was only one man who could have persuaded him to drop Whitacre for a while, and that one man was the one he was working for — Ogburn.”

   Why this story is of historical importance should be clear to anyone who remembers how Sam Spade in The Maltese Falcon immediately knew who had killed his partner Archer.

   “Miles hadn’t many brains, but, Christ! he had too many years’ experience as a detective to be caught like that by the man he was shadowing. Up a blind alley with his gun tucked away on his hip and his overcoat buttoned? Not a chance….But he’d’ve gone up there with you, angel….You were his client, so he would have had no reason for not dropping the shadow on your say-so….He’d’ve looked you up and down and licked his lips and gone grinning from ear to ear—and then you could’ve stood as close to him as you liked and put a hole through him….”

   There’s just one thing arguably wrong with the way Hammett handled the situation in the Bob Teal story. The plot requires that Teal must know and trust the client Ogburn, but little if anything in the story tells us that they even knew each other!

   “I sent Teal out to shadow Whitacre,” the Old Man tells the Op. We can’t infer from that that the two men had met. But, reviewing the two reports Teal had filed before his death, the Op tells us that “Ogburn had given Bob a description of Mrs. Whitacre….”

   This means that the two had met and had at least one conversation. It would have been easy for Hammett to be more specific about this matter, for example by having the Old Man tell the Op that he had introduced Teal to Ogburn and that the two had had lunch or a drink together, but for some reason he chose not to. The result, whether Hammett intended it or not, may well be one of the most subtly clued fair-play stories in the annals of short detective fiction.

***

   The fact that no one ranks “Who Killed Bob Teal?” among Hammett’s better tales probably explains why it wasn’t included in the Library of America volume of Hammett’s Crime Stories and Other Writings (2001). If we confine ourselves to material that has appeared in print, then we can read this and the other stories omitted from that volume only as Fred Dannay edited them for EQMM seventy or more years ago.

   Fortunately we live in the age of the Web, and thanks to Terry Zobeck’s Herculean labors we can read or at least reconstruct the original versions of most if not all of Hammett’s lesser stories. Thank you Mr. Zobeck!

THE BACKWARD REVIEWER
William F. Deeck


NORMAN FORREST – Death Took a Greek God. Hillman-Curl, US, hardcover, 1938. Detective Novel Classic #16, US, digest-sized paperback, 1942. First published in the UK by Harrap, hardcover, 1937.

   It is time for the execution scene from The Case of the Flying Knife. Epoch Films, an English movie studio, is filming the hanging of actor Raoul Granger, the handsomest man in Europe. Someone makes it a real hanging when the lever of the trap is pushed by one of a group of people who had no great love for Granger.

   Inspector Grief is called in from Scotland Yard. Fortunately for him, he has the assistance of John Finnegan, the most brilliant medical jurist of the day. In a case with few real clues, Finnegan traps the murderer with cameras rolling in a reenactment of the hanging scene.

   Not fair play, and the writing leaves something to be desired, but the investigation is a good one and the outcome a surprise.

— Reprinted from MYSTERY READERS JOURNAL, Vol. 7, No. 4, Winter 1991/2, “Murder on Screen.”


Bibliographic Notes:   Norman Forrest was the pen name of Nigel Morland (1905-1986), a prolific British mystery writer who wrote dozens if not hundreds of detective novels under his own name and several other pseudonyms. There was one earlier outing for John Finnegan, that being Death Took a Publisher (Harrap, 1936; Hillman-Curl, 1938).

A Giant in the Field Has Left Us:
ED GORMAN (1941-2016).


   I was away from the computer most of the day yesterday, and I’m only now catching up with the bad news. (Dan Stumpf’s movie review was scheduled for yesterday late on Saturday.) Ed Gorman’s death this past weekend was not unexpected, as his long battle with cancer was well known, and the last post on his blog was on way back on July 1st.

   Bill Crider talks about the man and his career on his blog more eloquently than I can, as does James Reasoner on his blog. Besides a long career in writing and editing, Ed Gorman was one of the friendliest and most helpful men I’ve ever corresponded with, and although I never met him, this hits me hard on a personal level.

   In the title of this post I said that Ed was a Giant in his field. He was actually a towering figure in four: Mystery, Western, Science Fiction, and Horror. From the Fantastic Fiction website, here’s a list of the books and stories he left behind:

      Series

   Jack Dwyer
1. Rough Cut (1986)
2. New, Improved Murder (1985)
3. Murder Straight Up (1986)
4. Murder in the Wings (1986)
5. The Autumn Dead (1987)
6. A Cry of Shadows (1990)
7. What the Dead Men Say (1990)
8. The Reason Why (1992)
The Dwyer Trilogy (omnibus) (1996)
The Jack Dwyer Mysteries (omnibus) (2016)

   Tobin
1. Murder on the Aisle (1987)
2. Several Deaths Later (1988)

   Leo Guild
1. Guild (1987)
2. Death Ground (1988)
3. Blood Game (1989)
4. Dark Trail (1991)

   Jack Walsh
1. The Night Remembers (1991)

   Robert Payne
1. Blood Moon (1994) aka Dead Cold
2. Hawk Moon (1995)
3. Harlot’s Moon (1997)
4. Voodoo Moon (2000)

   Sam McCain
1. The Day the Music Died (1998)
2. Wake Up Little Susie (1999)
3. Will You Still Love Me Tomorrow (2000)
4. Save the Last Dance for Me (2001)
5. Everybody’s Somebody’s Fool (2002)
6. Breaking Up Is Hard to Do (2004)
7. Fools Rush in (2007)
8. Ticket to Ride (2009)
9. Bad Moon Rising (2011)
10. Riders on the Storm (2014)

   Cavalry Man
1. The Killing Machine (2005)
2. Powder Keg (2006)
3. Doom Weapon (2007)

   Dev Mallory
1. Bad Money (2005)
2. Fast Track (2006)

   Collected Ed Gorman
1. Out There in the Darkness (2007)
2. Moving Coffin (2007)
Out There in the Darkness / Moving Coffin (2007)

   Dev Conrad
1. Sleeping Dogs (2008)
2. Stranglehold (2010)
3. Blindside (2011)
4. Flashpoint (2013)
5. Elimination (2015)

      Novels

Grave’s Retreat (1989)
The Black Moon (1989) (with Loren D Estleman, W R Philbrick, Robert J Randisi and L J Washburn)
Night of Shadows (1990)
Robin in I, Werewolf (1992) (with Angelo Torres)
Shadow Games (1993)
I, Werewolf (1993)
Wolf Moon (1993)
The Sharpshooter (1993)
Cold Blue Midnight (1995)
The Marilyn Tapes (1995)
Black River Falls (1996)
Cage of Night (1996)
Runner in the Dark (1996)
Gundown (1997)
The Poker Club (1997)
The Silver Scream (1998)
Trouble Man (1998)
Daughter of Darkness (1998)
I Know What the Night Knows (1999)
Senatorial Privelege (1999)
Ride into Yesterday (1999)
Storm Riders (1999)
Pirate’s Plea (2000)
What Dead Man Say (2000)
Lawless (2000)
Ghost Town (2001)
Vendetta (2002)
Rituals (2002)
Relentless (2003)
Lynched (2003)
Gun Truth (2003)
Branded (2004)
Two Guns to Yuma (2005)
Shoot First (2006)
A Knock at the Door (2007)
The Midnight Room (2009)
The Girl in the Attic (2012) (with Patricia Lee Macomber)
The Man From Nightshade Valley (2012) (with James Reasoner)
The Prodigal Gun (2012) (with James Reasoner)
Now You See Her (2014)
Run to Midnight (2016)

      Collections

Dark Whispers (1988)
Prisoners (1988)
Cages (1989)
Best Western Stories of Ed Gorman (1992)
Criminal Intent: 1 (1993) (with Marcia Muller and Bill Pronzini)
Moonchasers (1995)
Legend (1999) (with Judy Alter, Jane Candia Coleman, Loren D Estleman, Elmer Kelton, Robert J Randisi and James Reasoner)
Famous Blue Raincoat (1999)
The Dark Fantastic (2001)
Crooks, Crimes, and Christmas (2003) (with Michael Jahn, Irene Marcuse and Susan Slater)
The Long Ride Back (2004)
Different Kinds Of Dead and Other Tales (2005)
The End of It All (2009)
The Phantom Chronicles Volume 2 (2010) (with Robin Wayne Bailey and Harlan Ellison)
Noir 13 (2010)
Scream Queen And Other Tales of Menace (2014)
The Autumn Dead / The Night Remembers (2014)
Dead Man’s Gun (2015)
A Disgrace to the Badge (2015)
Enemies (2015)
The Long Ride Back and Other Western Stories (2015)
Graves’ Retreat / Night of Shadows (2015)
Shadow Games and Other Sinister Stories of Show Business (2016)
Cemetery Dance Select (2016)

      Chapbooks

Out There in the Darkness (Novella) (1995)
Cast in Dark Waters (2002) (with Tom Piccirilli)

      Graphic Novels

Trapped (1993) (with Dean Koontz)

      Novellas

Survival (2012)
Dirty Coppers (2012) (with Richard T Chizmar)
Yesterday and the Day Before (2012)
Brothers (2015) (with Richard T Chizmar)

       Short Stories

The Broker (2006)
Deathman (2006)
Stalker (2006)

MICHAEL BUTTERWORTH – Remains to be Seen. Doubleday Crime Club, hardcover, 1976. No US paperback edition. First published in the UK by Collins, hardcover, 1976.

   Two minor bureaucrats in an obscure Washington office. to justify their salaries not to mention their jobs, start in motion a chain of unlikely events that brings the close attention of several world powers down upon the British descendants of a Russian prince who escaped the Bolsheviks two generations before.

   That two of Davydov’s sons, now named Davis, are undertakers is quite crucial to the Plot and to the success that the third son, a dreamer and a fourth-rate poet, has in finally finding himself and quite rightly rising to the occasion.

   With some quick shuffling of a dead body or two (you knew?) and a hi-de-do comic routine as minor everyday problems escalate out of control. Butterworth entertains without ever producing real in-the-aisle laughter, lacking the spark of truly insane genius that would set the affair out of the ordinary.

Rating: C plus.

— Reprinted from The MYSTERY FANcier, Vol. 2, No. 4, July 1978.


Bibliographic Notes:   Michael Butterworth (1924-1986) has thirteen books listed in Al Hubin’s Crime Fiction IV, all non-series books such as this one. He also wrote two books as by William Dobson, three books as by Sarah Kemp (series character: Dr Tina May), seven as by Carola Salisbury, and one as by Anne-Marie Sheridan.

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