SWAMP WATER. 20th Century-Fox, 1941. Walter Brennan, Walter Huston, Anne Baxter, Dana Andrews, Virginia Gilmore, John Carradine, Mary Howard, Eugene Pallette, Ward Bond, Guinn Williams. Based on the novel by Vereen Bell. Director: Jean Renoir.

   From what I’ve learned recently that I didn’t know about director Jean Renoir before I sat down to write up some thoughts about this movie, his first American film, Orson Welles considered him the greatest director of all time, and he was voted the 12th-greatest director of all time in a poll conducted by Entertainment Weekly magazine.

   I think I could easily go along with Orson Welles. Even though the critics don’t seem to have thought too highly of Swamp Water, the general public did, and it was one of Fox’s highest grossing films of 1941. I agree. The general public was right this time.

   There is a lot to like in this film, even though it doesn’t seem to be regarded even now as one of Renoir’s best, and while I haven’t done so yet, I think that it will bear one or more viewings by me, very easily.

   That the atmosphere of a small Georgian community on the edge of the huge Okefenokee Swamp is portrayed in a highly realistic fashion almost goes without saying — or maybe it doesn’t, so I will.

   It’s not clear how someone having come to this country straight from Europe could have visualized and reproduced life in a small Southern town so well that it feels like everyone in the movie had lived there all their life — but that’s the feeling I received, only slightly cliched in (unfortunately) standard Hollywood fashion.

   Of course it helps that a good portion of the movie was filmed on location. The only serious omission, I think, is that I do not remember seeing any blacks in the film, only whites, and yet even so, the idea that not all men were created equal in the US in the 1940s still manages to make itself felt, if even only subtly.

   And it is a crime film, although when it comes to movies, as you will have seen on this blog, I’ve been insisting on that less and less as time has gone on. You could even call it “swamp noir.” The mood is dark enough at times, as life seems to go wrong at every turn for trapper Ben Ragan (Dana Andrews) after he stumbles across fugitive from justice Tom Keefer (Walter Brennan) hiding in the swamp while hunting for his lost dog Trouble.

   Agreeing not to turn Keefer in, Ben returns home and tries to keep Keefer’s secret from everyone but the latter’s daughter, the wild-haired Julie (Anne Baxter), who’s treated as little more than a scullery maid by the family who has taken her in, but with little success, no thanks to his jealous girl friend Mabel MacKenzie (Virginia Gilmore), blonde and far more perfectly coiffed.

   Ben is also on the outs with his father Thursday (Walter Huston), who second marriage to Miss Hannah (Mary Howard) is beginning to falter, thanks to the attention being paid to her when Thursday is gone by the pathetic and largely contemptible Jesse Wick (John Carradine).

   There’s a lot more to the story, with all of the pieces dovetailing nicely, and all of the players fitting their parts to a T, especially (and this came as a surprise to me) Walter Brennan, whom I usually think of as overacting greatly, but not in this role. As a speaker of soliloquies to the stars and to nature in general, his presence on the screen I found to be as mesmerizing as any I can recall in quite a while.

   Not that he was on screen a high percentage of the time. The honor in that regard goes to Dana Andrews, whose Southern accent was the most pronounced, but which started to sound more and more natural as the movie went on. As did the movie itself.

   Flawed by more of a sentimental ending than I expected, perhaps, and also because (and this is another perhaps) Renoir had the movie selected for him rather than the other way around, this is a movie that I enjoyed immensely. If you have a chance to see it, given that you’ve read this review all the way here to the end, I recommend it to you highly.

[UPDATE] 6-20-09. First an email note from Bill Crider, who says, “You know my fondness for this kind of book means that I own a copy.” And here it is, or the cover, at least, thanks to Bill:

      Bantam 97, June 1947. (Originally Little Brown, hardcover, 1941.)

   Then another note, this one from Al Hubin, who agrees that the book belongs in the Revised Crime Fiction IV, not previously incuded. He also points out the existence of the second filmed version, Lure of the Wilderness, 1952, with Jean Peters and Jeffrey Hunter, and directed by Jean Negulesco.

MALDEN GRANGE BISHOP – Scylla. Ace Double D-40, paperback original; 1st printing, 1954.

   The author of Scylla, Malden Grange Bishop, is a writer better known for his non-fiction (including a book on LSD that pre-dates the psychedelic era).

   Scylla is considerably less groundbreaking, a standard tale of domestic murder, not very intelligently planned nor, surprisingly, found out. Its marginal virtues, in fact, lie in the very ordinariness of concept and execution.

   The book reads as if it were written to fill out the back half of an Ace Double (which it does; the flip side is William Irish’s Waltz into Darkness) with the standard elements of sex, murder and not much else, and the writing is never bad enough to quit reading nor good enough to be memorable.

   What emerges reminds me of what Raymond Chandler said about giving murder back to the kind of people who commit it: Scylla, the villain of the piece is just a half-smart housewife, bored with her husband. She kills him not so much for money as because he simply irritates her — one of the leading motives for murder, if truth be known.

   The killing, as I said, is far from ingenious and the detection suitably uninspired, but the tale itself gains a certain verisimilitude from its own mediocrity. This is murder as it’s really done, by the kind of people who really do it, and if the singer is not particularly skillful, the song is like a familiar folk ballad heard and never forgotten.

Bibliographic Note: This is the only entry for the author in the Revised Crime Fiction IV, by Allen J. Hubin.

CLIFFORD KNIGHT – The Affair of the Fainting Butler.

Dodd Mead, hardcover, 1943. Hardcover reprint, Detective Book Club, 3-in-1 edition, November 1943.

   There are those, and I am among them, who read mysteries primarily to find out if the butler did indeed do it. Unfortunately, these days there are few novels in which you can suspect the butler, a breed that has been an endangered and even vanishing species for years.

   This is one of the old-fashioned novels that still affords us that pleasure. And, yes, the butler does faint. In fact, he faints three times. Did he do it? That would be telling.

   Larry Weeks, agent — or flesh peddler, if you prefer — for Jenifer Janeway, who wrote magazine serials “that made worrying wives, whose husbands had young sophisticated secretaries, think of Reno,” goes to Janeway’s home to try to keep her from carrying out her threat to commit suicide. She is about to start writing screenplays, and she is his meal ticket.

   While Janeway and Weeks are in her garden, Sloan Hinckley, Shakespearean actor and Weeks’s other but lesser client, appears on the wall. He is Janeway’s neighbor — ah, coincidence, where would mystery writers be without you? — and has come to report that he has discovered a corpse on her grounds.

   No corpse, however, is to be found. When Janeway is visited shortly thereafter by an old friend, Hinckley claims that the old friend was the corpse.

   There are several murders of varying unlikelihood for equally unlikely reasons. The amateur detective, Prof. Huntoon Rogers, is a veritable nonentity. Though he is present throughout the novel and solves the crimes, if his name isn’t before you at all times, you tend to forget his existence.

[EDITORIAL COMMENT.] You can google Huntoon Rogers, Clifford Knight’s detective character, all you want, but you won’t find much out about him. He’s about as anonymous as Bill Deeck suggests, especially considering he was the leading character in 18 of Knight’s detective novels in an 11-year period between 1937 and 1947, all of which began with The Affair of …

   But think about it. Eighteen books in eleven years. That’s a pretty good track record for an author and a series character both of whom are all but forgotten now. (I read one once, and I can’t even tell you now which one of them it was.)

        Bibliographic data:

   Taken from the Revised Crime Fiction IV, by Allen J. Hubin:

ROGERS, PROF. HUNTOON.    Series character created by Clifford Knight, 1886-1963.
      The Affair of the Heavenly Voice (n.) Dodd 1937 [California]
      The Affair of the Scarlet Crab (n.) Dodd 1937 [Ship]

      The Affair at Palm Springs (n.) Dodd 1938 [California]

      The Affair of the Ginger Lei (n.) Dodd 1938 [Hawaii]
      The Affair of the Black Sombrero (n.) Dodd 1939 [Mexico]
      The Affair on the Painted Desert (n.) Dodd 1939 [Arizona]
      The Affair in Death Valley (n.) Dodd 1940 [California]
      The Affair of the Circus Queen (n.) Dodd 1940 [Manila]
      The Affair of the Crimson Gull (n.) Dodd 1941 [California]
      The Affair of the Skiing Clown (n.) Dodd 1941 [California]

      The Affair of the Limping Sailor (n.) Dodd 1942 [California]

      The Affair of the Splintered Heart (n.) Dodd 1942 [Hawaii]
      The Affair of the Fainting Butler (n.) Dodd 1943 [Los Angeles, CA]
      The Affair of the Jade Monkey (n.) Dodd 1943 [California]

      The Affair of the Dead Stranger (n.) Dodd 1944 [California]
      The Affair of the Corpse Escort (n.) McKay 1946 [Los Angeles, CA]
      The Affair of the Golden Buzzard (n.) McKay 1946 [California]
      The Affair of the Sixth Button (n.) McKay 1947 [California]

PostScript: You probably do not want to know how much those books in dust jacket would set you back, but I’ll tell you anyway. Excluding the Dell mapback (approximately $15) perhaps mid-three figures each, on the average.

COLIN WATSON – Just What the Doctor Ordered.

G. P. Putnam’s Sons, hardcover, 1969. Paperback reprint: Dell, US, 1982 [Murder Ink #37]. Published earlier in the UK as The Flaxborough Crab; Eyre, hc, 1969.

   One measure of accomplishment for any writer of fiction is how successfully he or she transports us to his/her own individual world of imagination. Certainly one of the more successful in this regard is Colin Watson and his fictional town of Flaxborough.

   Much to our delight, and to the chagrin of Inspector Purbright of the Flaxborough Police Department, an amazing amount of crime seems to occur in this English village.

   Just What the Doctor Ordered begins with a number of sexual assaults on the women of the town. Miss Butters is accosted in Gorry Wood; Miss Sweeting on Heston Lane; Miss Pollock by the reservoir; and at St. Hilda’s a man threatens to “pollinate” Mrs. Pasquith.

   The fact that the attacks are perpetrated by elderly gentlemen, who make their escape by running sideways, only adds to the puzzlement. Inspector Purbright at first suspects an herbal concoction that promises amazing renewed virility. But few cases are quite so simple, as any Colin Watson fan will tell you, and this one takes several additional turns, including murder, before a solution is found.

   Inspector Purbright –flanked by his superior, Chief Constable Chubb; his subordinate, Sergeant Love; and his perpetual thorn-in-the-side, Miss Lucilla Teatime — is at the center of the Flaxborough novels, but the real stars are the amusing and eccentric townspeople themselves.

   This and the other novels in the series are recommended without reservation. Those other novels include Hopjoy Was Here (1963), Charity Ends at Home (1968), Six Nuns and a Shotgun (1975), Plaster Sinners (1981), and Whatever Happened at Mumbleshy? (1983).

   Colin Watson is also the author of an excellent sociological study of the British crime novel between the two world wars, Snobbery with Violence (1971; revised edition, 1979).

         ———
   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.

[EDITORIAL COMMENT.]   Flaxborough fans — and I’m sure you already know who you are — will have already recognized this particular adventure — under its British title, of course — as the third of four Inspector Purbright cases that were adapted for TV by the BBC in 1977. The first two in the recently released box set were reviewed here not so very long ago.

[UPDATE] 06-17-09.   Check the comments for a complete list of all of the Inspector Purbright novels, taken from the Revised Crime Fiction IV, by Allen J. Hubin.

   The passing of author Tedd Thomey was not known to the crime fiction community until quite recently, when Al Hubin came across the news as he was recently putting data together for the online Addenda to his Revised Crime Fiction IV.

   (Note that Part 33 has just been uploaded. This installment is much shorter and earlier than usual, but in time, Al hopes, for the information to be included in the 2009 edition of the Revised CFIV on CD-Rom.)

   Mr. Thomey died on December 1st of last year. A tribute to him by Tom Hennessy, a longtime friend, can be found online here, along with several photographs.

      Some excerpts:

    “Harold John Thomey was born July 19, 1920, in Butte, Mont. His father, who admired Theodore Roosevelt, called him Teddy. The second ‘d’ in Tedd was an affectation, added by a young man hoping to be noticed.”

    Storming Iwo Jima: “Tedd landed with the Fifth Marine Division in the Third Wave . He hunkered down in a shell crater. That’s where he was when a bullet pierced his heel and his boot filled with blood. Removed to a hospital ship, he was eating ice cream that night while his buddies tried to establish a foothold on the beach.

    “He cried the first time he told me of eating ice cream while his buddies fought for a toehold on the beach. He cried the second time, too.”

    After the war: “Tedd became a reporter for the San Francisco Chronicle, whose photo staff included [Iwo Jima photographer Joe] Rosenthal. They remained friends until Rosenthal’s death two years ago.

    “Tedd also began writing pulp fiction articles, then turned to books, 18 in all, including The Big Love. It was about actor Erroll Flynn’s love affair with 15-year-old Beverly Aadland. Told to Tedd by her mother, Florence, it became a Broadway play starring Tracey Ullman.

    “He also did profiles of celebrities, most assigned to him by his New York agent, Scott Meredith. Among his subjects: Humphrey Bogart, Peter Sellers, Judy Garland and Peter O’Toole.”

      Bibliographic data.   [Crime fiction only, expanded from the Revised CFIV, by Allen J. Hubin] —

THOMEY, TEDD. Full name: Harold John Thomey, 1920-2008.

      And Dream of Evil (n.) Abelard-Schuman, hc, 1954; Avon 614, pb, 1956. [Los Angeles, CA]

      Killer in White (n.) Gold Medal 546, pbo, 1956 [Los Angeles, CA]

      I Want Out (n.) Ace Double D-401, pbo, 1959

      The Sadist (n.) Berkley G-568, pbo, 1960 [Oregon]
       -When the Lusting Began (n.) Monarch 178, pbo, 1960

      Flight to Takla-Ma (n.) Monarch 216, pbo, 1962 [China]

      The Prodigy Plot (n.) Warner, pbo, 1987

[UPDATE] Later the same day. Thanks to Juri Nummelin who points out on his Pulpetti blog another website dedicated to Tedd Thomey’s books, including his non-criminous ones.

BRADSHAW JONES – Death on a Pale Horse.

John Long, UK, hardcover, 1964. Paperback reprint: Bridbooks, Israel, no date.

   Malcolm Bradshaw Jones was an oil executive who retired to the Channel Islands off of Great Britain, and wrote eleven mysteries featuring tough special agent Claude Ravel and his wife Monique, an Anglo-French couple who first work for Cabinet Security under that “terrible old man James Keen” and later work for Interpol and their Home Office liaison, Peter Calvert.

   Ravel is something of a rogue agent with a nose for trouble: “He’s about the most ruthless hell-bender I’ve ever met. And he’s got a wife, Monique, who works with him, who is almost as bad. She looks like something out of the fashion magazines and fights like a tiger. She’s French and Ravel is half French and completely bilingual. Between them they used to break just about every law we’ve got, all in the name of justice.”

   Of course in real life Interpol (*) never had agents, and was in fact a front organization for Nazi sympathizers well into the 1960’s, but here we are dealing with the Interpol of fiction not fact, and anyway Ravel and his wide Monique behave like no police you have ever encountered.

   Ruthless, blood thirsty, and deadly are the kindest thing you can say about them. That said, Jones writes this stuff with some small flare and obviously knows his locales. The scenes in Paris may not be Simenon, but they are authentic and redolent of the real place and not just the tourist trap version most fiction gives us.

   In Death on a Pale Horse a naked man is found off the southwest coast of England, a small time thief, who died of some mysterious intestinal disorder. Interpol, and through them the Ravels are called in.

   Soon they are on the trail of a defecting British chemist who has left behind a nasty bug that starts killing people, all leading to a remote private lab in San Stefano, and a trail of bodies and violence. The idealistic Dr. Porter’s trail takes them to Italy and into the hands of the ruthless drug smuggler Pavesi as the epidemic in England spreads. Now all they have to do is find Porter alive and “unseat death from his pale horse.”

   There is nothing special here, but the writing is good, the plot moves well, and Ravel and Monique are an engaging pair of homicidal heroes, believably tough and ruthless. You could do a lot worse than Jones books about the Ravels and in some cases not a lot better.

   I’ll be keeping an eye out for more books about them. It’s not often you encounter a husband and wife team who both carry concealed switchblades and have few compunctions about using them. It’s a bit as if James Bond had married Modesty Blaise, or a continental John Steed and Mrs. Peel after a session of SAS training.

   Death On a Pale Horse is a short book, around 60,000 words, and a well done thriller with some interests and attractive, if ruthless, protagonists in the Ravels.

CLAUDE RAVEL. Series character created by (Malcolm Henry) BRADSHAW JONES, 1904- .   Data taken from the Revised Crime Fiction IV, by Allen J. Hubin:

      The Hamlet Problem (n.) Long 1962.
      The Crooked Phoenix (n.) Long 1963.
      Tiger from the Shadows (n.) Long 1963.

      Death on a Pale Horse (n.) Long 1964.
      Private Vendetta (n.) Long 1964.
      The Embers of Hate (n.) Long 1966.
      Testament of Evil (n.) Long 1966.
      The Deadly Trade (n.) Long 1967.

      A Den of Savage Men (n.) Long 1967.

      ______________________________________________________

   (*) Interpol is a private organization founded in the mid 1930’s to gather information on criminal activities and provide it to subscribing police agencies around the world (for instance the FBI has never subscribed and does not receive Interpol bulletins despite what you see in movies and books).

   It was infiltrated by the Nazis from the first and their influence continued into the 1960’s when it was finally purged. (Interpol refused to help in the hunt for Nazi war criminals on the grounds they were “political” crimes.)

   Interpol is primarily a counting house for information and sends out bulletins on persons of interest; yellow sheets for those who do not have an active criminal record and are not wanted for a crime, and red sheets for wanted felons.

   In the 1990’s Interpol began to employ investigators for the first time in its history. It has no enforcement duties, and the liaison to Interpol at most police departments are just some unlucky communications officer who receives no extra pay for his service. The Interpol agent of countless novels, movies, and television series is a myth that never existed, but has taken on a life of its own.

      ______________________________________________________

[UPDATE] 06-14-09.   A tip of the hat to British mystery bookseller Jamie Sturgeon, who provided the cover images for both Death on a Pale Horse and Tiger from the Shadows. He also sent Al Hubin and I a long list of additional information about the settings and additional series characters in Jones’ books, all of which will appear in the next installment of the online Addenda for the Revised Crime Fiction IV.

EDWARD ACHESON – The Grammarian’s Funeral. Macrae Smith, US, hardcover, 1935. Hutchinson, UK, hc, 1935.

   Choosing a book by its title is much like buying a pig in a poke. The contents are always a surprise — sometimes pleasant, sometimes disappointing, sometimes uncertain.

   The Grammarian’s Funeral turned out to be nothing like I imagined it would be. It is the story of Crane Adams, meek, mild, downtrodden, and abused by the principal of his school, his wife, his students, and almost anyone else he comes into contact with.

   Adams’s cousin, Chatterton Manley, to whom Adams owes a significant sum which he is paying back, apparently sporadically, disappears. Everybody but Adams is aware that Manley’s wife is in love with him. Manley’s suitcase is found in Adams’s garage. All that the police are lacking is a corpse.

   The arrest of Adams by the police as “a material witness,” though they are sure he has done away with Manley, changes him from, if I may put it this way, a Casper Milquetoast to something like Mr. Hyde, although not quite as bright as the latter. Because of Adams’s efforts — if blundering about does not describe it better — the corpse is found and the real murderer is unmasked.

    Adams’s alteration was unconvincing, as was the story that mumps in an adult male can cause impotence. But I was anticipating — why, I cannot say — a lighter, more frivolous novel from the title, and thus my judgment is probably suspect.

       Bibliographic data [taken from the Revised Crime Fiction IV, by Allen J. Hubin] —

ACHESON, EDWARD (Campion). 1902-1966.
      Red Herring. Morrow, 1932; UK title: Murder by Suggestion, Hutchinson, 1933.
      The Grammarian’s Funeral. Macrae-Smith, 1935; Hutchinson, UK, 1935.
      Murder to Hounds. Harcourt, 1939; Harrap, UK, 1939.

JOHN LUTZ – Tropical Heat.

Henry Holt & Co., hardcover, 1986; paperback reprint: Avon, 1987.

   The setting is central Florida and the private detective is Fred Carver, a fortyish balding ex-cop whose police career abruptly ended when he was kneecapped by a Latino street punk.

   A new protagonist and a new scene, but the world caught on the pages of Tropical Heat is unmistakably the world of John Lutz, the St. Louis area’s foremost suspense novelist, and the superficially tough and cynical Carver clearly belongs in the post-Ross Macdonald fraternity (or is the word siblinghood?) of concerned and compassionate PIs, right alongside Lutz’s earlier detective character, the timid and soft-hearted Alo Nudger.

   Vegetating in the beachfront bungalow he bought with his disability pay, Carver is visited by upscale real-estate salesperson Edwina Talbot and in effect challenged to stop pitying himself and do something with the rest of his life.

   The particular something she wants him to do is to find her lover, Willis Davis, who in the middle of a solitary continental breakfast on her terrace either walked out on her for no reason, or jumped off a cliff into the ocean, or was pushed off.

   The search leads Carver to a condominium time-sharing scam, a drug deal (in Florida, what else?), an assortment of close calls, and an emotional entanglement with his lovely and much-abused client which neither he nor she is well equipped to handle.

   The plot of Tropical Heat is the bare-bones variety, but the meat on those bones is prime Florida noir. Lutz does a blazingly vivid job not only with the sun-soaked atmosphere and the wild action scenes (including Carver’s underwater duel with a Marielito knife killer and an airboat chase through the midnight Everglades) but also with the anguished relationship of a man and a woman each struggling against a personal darkness.

   This novel makes great summer reading — provided the reading is done in an air-conditioned room to counteract Lutz’s descriptions of the oppressive Florida heat.

FRED CARVER. Private eye series character created by John Lutz. For a complete profile of Fred Carver, check out his page on the Thrilling Detective website. The following complete list of recorded cases is expanded from the Revised Crime Fiction IV, by Allen J. Hubin:

      Tropical Heat. Holt 1986; Avon 1987.
      Scorcher. Holt 1987; Avon 1988.

      Kiss. Holt 1988; Avon 1990.
      Flame. Holt 1990; Avon 1991.
      Blood Fire. Holt 1991; Avon 1992.
      Hot. Holt 1992; Avon 1993.

      Spark. Holt 1993; no ppbk edition.
      Torch. Holt 1994; no ppbk edition.
      Burn. Holt 1995; no ppbk edition.

      Lightning. Holt 1996; no ppbk edition.

Short stories —

       “Someone Else” (Justice for Hire, 1990)
       “Night Crawlers” ( EQMM, April 1997)

JOHN GREENWOOD —
        ● Mosley by Moonlight. Quartet, UK, hardcover, 1984. Walker, US, hc, 1985; Bantam, US, pb, April 1986.
        ● Mists Over Mosley. Quartet, UK, 1986; Walker, US, 1986; Bantam, US, pb, September 1987.

   The best work on mysteries in the British village is the chapter by Mary Jean De Marr in Comic Crime (1987), edited by Earl Bargainnler and published by Bowling Green’s Popular Press.

   Although Ms. De Marr covered some recent examples, I suspect that she hadn’t caught up with John Greenwood’s series of six books about Inspector John Mosley, whose territory covers the small towns on the very flexible border between the counties of York and Lancaster.

   British-village mysteries, contrasted with the generally unsophisticated examples of rural-American detective stories, are told in a sophisticated style and permit the reader to have fun at the expense of the local characters.

   Greenwood, the pseudonym of the late John Buxton Hilton, was excellent on atmosphere, if a bit weak on plotting. Prime examples are the second and fourth books in the series, Mosley by Moonlight, in which a British television crew invades the town of Hadley Dale when extraterrestrial sightings are reported, and Mists over Mosley, about a coven of witches and municipal corruption.

   Mosley is an unusually enigmatic sleuth, one who likes to “keep himself to himself” as the British say. He has a knack of disappearing but then turning up under strange circumstances, properly surprising Greenwood readers.

INSP. JACK MOSLEY.    Series character created by John Greenwood, pseudonym of John Buxton Hilton, 1921-1986.    [Data expanded from that found in Revised Crime Fiction IV, by Allen J. Hubin.]

       Murder, Mr. Mosley. Quartet, UK, 1983. Walker, US, 1983; Bantam, US, pb, Feb 1986.

       Mosley by Moonlight. Quartet, UK, 1984. Walker, US, 1985; also Bantam, US, pb, April 1986.
       Mosley Went to Mow. Quartet, UK,1985. Walker, US, hc, as The Missing Mr. Mosley, 1985; also Bantam, pb, Dec 1986.

       Mists Over Mosley. Quartet, UK, 1986. Walker, US, 1986; Bantam, US, pb, Sept 1987.
       The Mind of Mr. Mosley. Quartet, UK, 1987. Walker, US, 1987; Bantam, US, pb, July 1988.
       What, Me, Mr. Mosley? Quartet, UK, 1987. Walker, US, 1988; Bantam, US, pb, 1989.

   Uploaded this morning was Part 32 of the ongoing online Addenda to the Revised Crime Fiction IV, by Allen J. Hubin. New and corrected information continues to stream in. Part 31, for example, was uploaded only two months ago.

   The data consists of a few new authors and titles, as always, but again as usual the large portion of it consists of additional facts about books and authors previously included, such as settings, series characters (both added and deleted), and films based on titles in CFIV but not previously noted.

   Tise Vahimagi’s recent article on Eric Ambler’s TV credits revealed four made-for-TV movies or mini-series not previously noted, for example, and new films such as Killshot (Elmore Leonard) and In the Electric Mist (James Lee Burke) have recently appeared as direct-to-DVD released. Both have been included, as well as a French film based on Gil Brewer’s 13 French Street (2007), not known about until a serendipitous discovery on IMDB only two days ago.

   Data at least through Part 32 will be included in the 2009 CD-ROM edition of Crime Fiction IV, which should be available at the time of this year’s Bouchercon. Data accumulated through the rest of the summer will be posted online in Part 33, but (as I understand it) there might not be time for it to be included on the upcoming CD.

   So follow the link above and feel free to browse around. If you spot any errors and would like to make corrections, or if at any time you have additional information to supply, then of course, please do!