The writer William “Bill” Lindsay Gresham (1909-1962) is well-remembered for his 1946 novel Nightmare Alley, but not much is known about his life. He was a member of New York-based writers group the Witchdoctors Club, particularly close to Clayton Rawson and John Dickson Carr, and wrote what some consider “the first great Houdini biography.”

   Two of the few people today who can speak about Gresham from memory are his stepchildren, Bob Pierce and Rosemary Simmons. Bob and Rosemary moved with their mother, Renee Rodriguez (nee Pierce), to Staatsburg, New York, in 1952 to stay with Gresham’s family. Renee was a cousin of Gresham’s wife, Joy Davidman. As various books on Davidman have discussed, Renee was seeking a divorce from her husband, Claude Pierce, and she married Gresham after he divorced Davidman in 1954. Gresham helped raise Bob and Rosemary until his death in 1962.

   In our interview, Bob recalls growing up with Gresham, and some memories of spending time with Gresham’s sons, David and Douglas, in 1952-1953 before they moved away with Davidman.

         Interview:

Q. How old were you when you, your mother, and Rosemary came to stay with the Greshams in Staatsburg?

A. I was 5-6 years old. I remember riding the school bus, so I must have been in first grade.

Q. What is your first memory of Bill Gresham?

A. I don’t recall any first impressions. I do remember a large house with columns and a front yard that sloped down to a creek. The kitchen was large and came with a friendly cook.

Q. Did you relate well to Bill?

A. I did not. I was my daddy’s little boy who got taken everywhere with him, even to the bar. I gradually warmed up to [Bill] and somewhere around 13, I asked my mother if I could call him Dad instead of Cousin Bill. Unfortunately, I never got around to following through.

Q. Can you recall Bill saying anything about his writing – what he was working on, projects he liked or disliked, things like that?

A. While I was aware that he was a writer and made contributions to various magazines, the only project we ever discussed was his Book of Strength. We discussed the exercises in the book. I was aware of his keen interest in Houdini, but don’t remember discussing the book. I was also aware of his interest in magic.

   He also dabbled in something called I Ching (I think that is right), which was some sort of Oriental graphic with a set of horizontal lines. One day he sat down with me trying to explain that you could ask questions and I Ching would provide an answer. I tried asking a question about a girl I had a crush on. All this was spelled out on a yellow pad, which I later found out my mother found and had some questions about who this girl was that was on Bill’s pad.

Q. Any memories of his body-building exercises when he was working on The Book of Strength (1961)?

A. We did discuss his book and the illustrations he planned to use. Being rail thin, I had interest in the activities. My memory is vague, recalling that there may have been a homemade exercise bench and maybe some trips to a local gym. He taught me proper breathing techniques when exercising, which I employ to this day. He dedicated the book to his sons, David and Doug, and to me, giving me a first presentation copy that I still have.

Q. Any memories of the fire-eating and other tricks that Gresham would do?

A. I do remember him entertaining friends by eating a flaming banana. He would also juggle flaming cotton balls. He shared the secret of fire eating with me, which was to use isopropyl alcohol because it burns cool. He could also roll a quarter across his knuckles. I don’t remember any card tricks, but I suspect he knew a few.

Q. Any memories of him playing guitar or singing?

A. I do remember him doing both, but no specific memories.

Q. Any memories of what Gresham’s wife, Joy, was like?

A. I only have vague memories of her. I don’t recall her being friendly or warm and seemed to favor her oldest son, David, who was prevented from bullying my sister and I by his brother Douglas.

Q. If you can remember Joy, how did she and Gresham relate to each other—happy. Unhappy, any impressions from that period?

A. I have no recollections of their interactions.

Q. Any memories of the Gresham boys, Douglas and David?

A. As referenced above, my relationship with David was strained although I can’t cite any specifics. Douglas was seen as our protector from David and we enjoyed a positive relationship with him. An example would be the Halloween we shared. My mother made costumes for all four kids. Douglas was Robin Hood, Rosemary was Maid Marion, I was Will Scarlett, and David was the Sheriff of Nottingham. We were perfectly role-cast.

[Interviewer’s Note: Rosemary recalled in an interview for Fellowship & Fairydust that David refused to dress as the Sheriff of Nottingham and asked for a Julius Caesar costume instead. They both described David as picking a role that fit him well.]

Q. When did your parents, Claude and Renee, divorce?

A. I have always believed that I was five at the time. I remember leaving for the airport (I think) and my father ran into a ditch. (Only later did I learn he was drinking). A passerby picked us up and drove us to the airport. I remember being aware that something traumatic was occurring, but no details. I don’t know when the divorce was officially granted.

Q. How much was your father Claude involved in your life after the divorce?

A. Mostly absent. I only remember one time when we were living in the Miami area that he came to visit with his girlfriend and they took Rosemary and I to visit my grandfather in Mobile. At some point, maybe I was 10-12, Claude got a job as a pipefitter, I believe, and lived in Queens, NYC. On occasion, he would come to New Rochelle, and pick us up and take us back to Queens for the weekend. I would guess I didn’t see him more than a dozen times. It was during this time that I realized that my father was an alcoholic and asked my mother for confirmation. To my mother’s credit she never once said negative things about my father.

   After he moved back to Mobile, I never saw him again. I think that had a psychological impact on me that I suppressed and shaped my adolescent personality, but he became a non-entity. There were no phone calls or letters or birthday cards that I can remember. I only found about his death several years after he passed through an aunt who eventually contacted my mother. My sister and I contributed to a headstone for him, but I don’t know where he is buried and have had no contact with my father’s side of the family.

Q. I know Gresham’s friend in Mamaroneck, Clayton Rawson, had children near your and Rosemary’s ages. Any memories of hanging out with Clayton Jr. or the other children?

A. We never hung out with the Rawson kids. However, I do remember the family being invited over to the Rawsons one weekend. Rawson had constructed a wooden stage that rose about one foot off of his backyard. He put on a magic show for us, the highlight of which was a levitation trick in which he elevated his daughter from a standing position to a horizontal floating position with her elbow on a broomstick. He did the usual display of passing a hoop around her body to prove there were no wires. I was truly amazed because this done on a makeshift backyard stage. Bill would never tell me how the trick was done.

Q. I know that your family moved to Florida after 1953 and lived there for a few years. What was it like living there?

A. Before Bill came down to marry my mother (a ceremony I have no recollection of), we lived in a converted detached garage that had no hot water (showers consisted of a mad dash under the shower head) and we fondly called it Scorpion Hall. So named because my sister and I would capture the scorpions that ran around outside under a glass. I had no sense of being poor and economically lower-class because although we had little my mother dressed up in Easter finery: a suit for me and dress, hat and purse for Rosemary. I have the picture to attest to it.

   When Bill joined us, we first moved to an apartment over a blacksmith shop and then to a duplex in Hialeah and led a normal childhood: learning to ride my first bike, performing circuses in the yard with my acrobatic sister and a blowup wading pool, hanging out and drinking Yoo-Hooo, and all the things kids in the 50s did. I was only vaguely aware of Bill’s drinking, but too young to make much of it and it didn’t spill over to disrupt the family peace.

   The next stop was Ocala where we lived in a big old house on the outskirts of town. I remember going to school in some converted army trailers (I don’t know why). We then moved for some reason into town into a second-floor apartment. I have fond memories of getting up early to ride my bike to school to play in the daily pickup baseball game.

   It was also here that I received my first taste of racial reality in the South, being completely naïve at the time. Rosemary and I had made friends with a pair of sisters who lived across the street that were near out age. The younger sister had some sort of disability (possibly polio) but was sweet and friendly and the older sister was not. For some reason, we disclosed that our mother was born in Havana. The next day the older sister informed us they couldn’t be our friends because everyone knows that Cubans are niggers.

   The younger sister tried to stay friendly with us but we parted ways. I don’t remember being traumatized by this and race was never a topic in our household. Our stay in Ocala was short-lived as Bill thought he would secure more writing assignments if he lived closer to the literary agents in New York.

Q. What were your mother and Gresham like as a couple?  

A. I think they were very loving to each other, and I can’t recall ever witnessing a fight or argument. They were affectionate in our presence and the family always ate together and watched TV together (TV dramas like Masterpiece Theater and concessions to younger tastes such as trying to outdraw Matt Dillon on Gunsmoke). I remember that when my mother noticed a few gray hairs, Bill dubbed her Princess Dark Cloud With Silver Lining.

   I think I was aware that he found my mother very attractive although I was too young to understand what that meant. Proof and realization of their bond came to me after his death as my mother exhibited a belief that he was irreplaceable.

Q. Gresham served as a medic in the Spanish Civil War. Do you remember him ever mentioning Spain, anything about his war experience?

A. I have no recollection of him ever mentioning his experiences and only learned after his death that he was a participant. You state he was a medic, a fact I just learned.

Q. Any memories from when Gresham passed away in 1962?

A. My memories of that time are of people coming to the apartment to console my mother and I was assigned the task of answering the telephone and informing callers that he had passed away. I don’t recollect that I knew how he died, but I think I must have been told.

   One male visitor, I don’t know who, took me aside and told me it was my role to take care of my mother and sister as the male of the house, right out of a movie. That summer I did not go to summer camp, as was my usual practice and stayed home to fulfill my expected role.

   At some point I was told he was suffering from incurable cancer and took his life to spare the family the burdens of dealing with the disease. Sometime afterwards, I don’t remember how long, my mother asked me to accompany her to the pier in New Rochelle where the ferry to Fort Slocum docked and we distributed his ashes into Long Island Sound.

Q. Did you reconnect with Douglas or David as adults?

A. I never had any connection with David since my childhood. I had in-person contact with Douglas twice. Once when he was in Florida on business and he took time to visit with my mother, Rosemary, and I. Douglas arrived with his wife Merrie, all his kids, and a nanny. Douglas was dressed in boots and safari clothes. I thought I was meeting Crocodile Dundee of movie fame. The second time was when he came to visit my mother in hospice in 2005. All other contact was secondhand through my sister who maintained contact with Douglas and his family.

   Several years ago, I sent a letter to Douglas thanking him for his generosity towards Renee and my sister and I. I also said that I was grateful to have a stepbrother who protected Rosemary and I from David. Douglas responded to my letter that he was glad to have a brother who wasn’t crazy.

[Interviewer’s Note: Rosemary recalls this first visit to Florida occurred in 1980. David passed away in 2014, and Douglas reported in a 2020 interview with First Things that their uncle, Howard Davidman, diagnosed David with paranoid schizophrenia when David was 11.]

Q. Have you explored any of Gresham’s writing? If so, what do you like? Or dislike for that matter?

A. I have read Nightmare Alley, which I found somewhat difficult to read. I found it to be a deep dive into a psychological world that I found unsettling and unlike any other book I have read. Of course, I read The Book of Strength which is straightforward. I attempted Limbo Tower but never got through it and I know I read numerous magazine pieces but can’t recall any of them now.

Q. Did you get to meet any of Gresham’s friends – fellow writers like John Dickson Carr, people he knew through magician groups – during or after his death?

A. John Dickson Carr is a familiar name, but I can’t remember any details about him. The most frequent visitor was The Amazing Randi. I remember him as diminutive in stature with a dark goatee and recall seeing him on TV also.

   There were others, but I don’t recall them except one who invited the family, and others, to his estate, on the New Jersey shore. For some reason, I believe the host was a well-known Civil War historian. The highlight of the party was Bill and the host staging a séance that evoked some shrieks when a ghost appeared and laughter when the ghost’s identity was revealed and the prank exposed.

[Interviewer’s Note: I asked Bob in a follow-up email if this was writer Fletcher Pratt and he immediately recognized the name. Bill Mullins has noted that Gresham’s brother Henry listed Pratt as his employer on his 1940 draft card. Frederik Pohl’s blog The Way the Future Was included a story about Gresham visiting Pratt’s New Jersey home, a writing commune dubbed the Ipsy-Whipsy Institute.]

Q. Nightmare Alley has been adapted twice – into a 1947 movie and again in 2021. Have you seen either film? Any thoughts on them?

A. I have seen them both. The 1947 version had an easily followed story line of descent into alcoholic depravity fostered by hubris and guilt. The 2021 version featured a more stylized script that I thought was lacking in character development and interaction. Neither of them captured the dark psychological tone of the book.

Q. Looking back now, what’s your impression of Gresham?

A. I have learned more about Bill Gresham after his death than when he was alive. I regret not interacting with him more closely as I have come to understand that he was a very interesting and talented person from whom I could have learned much. I find no fault with him in the development our relationship, but I look back on those years as a typical adolescent too engrossed in finding himself and the social situation into which he fit.

   Clayton Rawson (1906-1971) was a key member of the American mystery fiction community for over four decades. His best-known work combined his interest in magic with mystery, particularly in stories about amateur detective The Great Merlini — a name Rawson used himself at magic shows.

   His son, Clayton Rawson Jr., has carried on The Great Merlini legacy in various ways. In a March 2024 virtual event for Rendever Live, he showed some of his father’s magic tricks and observed that his siblings have said, “it’s like my father talking to them” when he performs. He has also shared samples of his father’s books and artwork, and shared memories in Something Is Going to Happen

   I connected with Clayton in March 2024, asking about his father’s friendships with writers John Dickson Carr and William Lindsay Gresham. Our conversation developed into an interview, during which he shared well-known and obscure details about his exceptional father.

What can you tell us about your father’s early life?

   Clayton Rawson grew up in Elyria, Ohio, and had a younger brother and two younger sisters. Magic was a passion from an early age but he also began to draw cartoons, and learned how to twirl a lariat. He produced some trick photographs that I have: juggling seven balls in the air, watching himself beat himself playing checkers, and a photo of him as a headless boy illusion.

   One of his early magic tricks (some called it a prank) was to put a large barrel on top of the school’s flag pole. He didn’t tell me how he did it… I had to figure it out. He was disappointed that I didn’t do it at my high school.

   The most detail about his life is covered in a biography that my brother, Hugh Rawson, wrote for one of the many reprints of our father’s mysteries: The Magical Mysteries of Don Diavolo, edited by Garyn Roberts, published by George Vanderburgh’s The Battered Silicon Dispatch Box in 2004.

When did he meet your mother?

   My parents met at Ohio State University during the Roaring Twenties. We have a collection of letters he wrote to her and a series of letters that feature cartoons of cats. The story is about a forlorn cat hoping his cat sweetheart will write back more often.

What was your father’s earliest published work that you can track down?

   At OSU, he was the Editor-In-Chief of the Sun Dial, a college humor magazine. I have just in the past year been in contact with OSU and they were kind enough to scan and send a copy of his last Sun Dial — June 1928. He drew the cover and wrote a mystery story — the first mystery of his that we have — as well as a number of other articles and book reviews.

When did your father become interested in magic?

   Hugh said it pretty well: “At about age twelve he saw an ad in The American Boy: ‘100 magic tricks for 10¢.’ He invested the dime and was never the same again.” (The Mysteries of Don Diavolo, p. vii.)

What were some of his accomplishments as a performing magician?

   While he loved performing for friends and family and other magicians, he never performed on stage professionally. He invented many magic tricks and was a regular contributor to magic magazines and newsletters: The Phoenix, The Jinx, and Hugard’s Magic Monthly.

   He co-produced The Society of American Magicians Annual Magic Show in 1965 and performed a version of his “Little Wonder Jim Dandy” routine … a trick involving eight volunteers and a Rube Goldberg style of sets, props, and a deck of playing cards.

   He first performed his floating lady levitation on the stage he built in our family’s backyard. It was revolutionary. He always wanted to perform it on Johnny Carson’s Tonight Show. In the 1960s, Orson Welles was Johnny’s permanent guest host. I never knew that my father knew Orson Welles and only found out when I answered the phone and took a message.

   “Who is this?”

   “Orson Welles…”

   Orson had been a member of the Witchdoctors Club.

   Orson could not get him on the Tonight Show, but a few years later, Walter Gibson got the floating lady booked on the Dick Cavett Show. But they didn’t need a magician or a floating lady, just the gimmick. Tony Curtis levitated Dick Cavett, and my father and I were behind the curtain making it happen.

What can you tell us about the Witchdoctor’s Club?

   The best description of the Witch Doctors Club (or sometimes Witchdoctors Club) is in an article I contributed to about the group on the site Magicpedia: “Membership was by invitation only and the sole purpose was lunch.” And showing off sleight of-hand-tricks.

   I only went to one of the lunches as they were in Manhattan on weekdays when I was in school. But I met most of the magicians at the summer picnics in Mamaroneck. I wish I had a list of the members of the Witchdoctors Club… as I wish I had more photos of them performing at the picnics.

What were some of his accomplishments as an illustrator?

   He drew covers and cartoons for The Chicagoan, a magazine modeled after The New Yorker. He drew advertising art for newspapers. In 1930, he did a Christmas Cover for the Kiwanis Club Magazine Cover, which I later found on eBay. He illustrated a children’s book, The Little Brown Bear by Alice E Radford, published by Rand McNally & Company in 1938.

   From 1930-1931, he drew more than a dozen two-page cartoons for College Life Magazine featuring a very risqué character named Dotty and her girl friends wearing skimpy clothes or nothing at all: “Dotty’s Diary,” “Dotty Joins the Swim Team,” “Dotty Goes to Hollywood,” and “Dotty Goes Nudist.”

   In New York City, he drew illustrations for advertising in newspapers and magazines: Bordens, Kleenex, and many other clients. He also drew book jacket covers, notably for Agatha Christie’s Murder of the Calais Coach, which was later retitled Murder on the Orient Express.

   He drew the cover and the inside art for his first mystery novel, Death From a Top Hat. He also drew the crime scene maps for the Dell Map Back paperback editions of the four Merlini Mysteries. Very unusual for the author to be the artist, as well.

How did he begin writing mystery stories?

   The Sun Dial has what may be his first mystery story — and, being in a humor magazine, it has a funny twist at the end. After a series of murders, each witness becomes a suspect but also becomes the next victim, and so on and so on until the final murder… the murderer is the author of the story, who decides it’s time to go to bed.

   My father always loved mysteries. In the mid-1930s, he decided to write one and would read the fresh off-the-typewriter chapters to friends. For his third mystery, The Headless Lady, he joined the Russell Bros Circus and appeared as the Side Show Magician for about a week and a half.

   He collected the ambiance, language, jargon, and slang of the circus for his book. We have another collection of his letters and postcards written to my mother and telling about life on the circus lot.

Death from a Top Hat introduced your father’s most famous character, The Great Merlini. Do we know if any particular characters or people inspired this character?

   My father’s research of magicians and his own love of magic. As you will read in my brothers’ bio of our father, that’s very true: “In New York in the early 1930s, Rawson began to build a reputation for himself as an uncommonly original magician, one who invented new tricks and gave fresh twists to old ones” (p. vii).

   My father’s short bio of The Great Merlini was published in The Jinx.

What can you tell us about his involvement with the Mystery Writers of America (MWA)?

   He was a founder of the MWA and came up with their motto: “Crime doesn’t pay… enough.” He also suggested the name of the Club’s newsletter, “The Third Degree,” suggested they have an annual dinner at which the best mysteries of the year would be awarded an Edgar, a statuette of Poe.

   In the early days of the MWA dinners, he wrote, produced, and acted in entertaining skits. He was awarded both an MWA Edgar and Raven for his contributions to the organization. His four Merlini Mysteries were published before the MWA was formed.

What was his involvement with Ellery Queen’s Mystery Magazine (EQMM)?

   Over the years, he contributed 12 Merlini mystery short stories to EQMM. In 1968, he became the Managing Editor. My father was very familiar with most of the authors who contributed to EQMM. He knew Fred Dannay and Manny Lee, the authors of Ellery Queen stories, and was a close friend of Dannay.

   He wrote most of his stories for EQMM in the 40s and 50s and his last, written to win a bet that he couldn’t write one, in 1971.

One interesting moments in Death from a Top Hat features The Great Merlini talking in detail about John Dickson Carr’s novel, The Three Coffins, where Dr. Gideon Fell gives a lecture on locked-room dilemmas. I understand that your father and Carr became friends when they lived near each other in Mamaroneck, New York. Can you tell us anything about that relationship?

   My father first corresponded with Carr after Death From A Top Hat was published. Rawson and Carr began a “lock room mystery” competition, trying to out-mystify each other and their readers. The Carrs and the Rawsons had a long-time friendship, even with distance — the Carrs moved back and forth from Mamaroneck and London and Tangiers. Both my father and my mother enjoyed their company, and they were my godparents. My parents and the Carrs took short summer trips together twice with me as the chauffeur, to Fort Ticonderoga and Sturbridge Village, in the late 60s.

   Both Clayton and John loved theatrics and produced skits for the MWA dinners. I remember stories of a Halloween party the Carrs had that included a “House of Horrors” in their attic.

Another interesting writing friendship is that your father and Carr were both friends with crime writer William Lindsay Gresham — another member of the Witchdoctors Club. Anything you can tell us about your father’s friendship with Gresham?

   I’m not sure when my parents first met Bill, but it was before Joy Davidman left him for C.S. Lewis. I was too young to know her, but I do remember Renee and the two children she and Bill raised together, but I don’t remember much about them.

   The next two photographs show Bill Gresham assisting my father as The Great Merlini in a levitating act with my sister Sarah.

   When the Greshams would visit us in Mamaroneck, or I’d go with my parents to their apartment in New Rochelle, I was in my early teens and probably spent the time playing games with Rosemary and her brother, Bob. Nothing much sticks out except the time I missed Bill’s Fire Eating Act when he did it one summer evening on Merlini’s outdoor stage in the rain.

   I also don’t have the disappearing bird cage that Bill left my father in his will. After my father died, my mother sold our house and had an open house sale of miscellaneous things. I had put the bird cage apart from the for-sale items but arrived late and somehow it was sold.

Who are some other writers he was friends with?

   He knew Robert L. Fish and the others who founded the MWA. Every summer, the Mystery Writers were invited to a picnic in our backyard, on a different weekend than the Witchdoctors. Some of the magicians were members of both the Witchdoctors and the MWA.

   In addition to the MWA crowd, one of my parents’ closest friends was Martin Gardner and his wife. He was the longtime contributor of the Mathematical Puzzle Column in Scientific American. My parents knew Martin when he was just starting out and working at Humpty Dumpty’s Magazine.

   Another writer friend was Hartzell Spence. Hartzell was the co-author of Fred Bradney’s book about his life in the circus — The Big Top: My Forty Years with the Greatest Show on Earth — an autobiographical book Hartzel wrote that was made into a movie, One Foot In Heaven, and many other books and magazine articles. Hartzell also coined the phrase “pinup girl” when he was an editor for Yank, the Army Weekly in WWII.

   For a number of years, my father was the mystery book editor for Simon and Schuster and got to know many more authors that way.

One interesting feature of your father’s first mystery novel, Death from a Top Hat, is that your father doesn’t just show magic tricks or characters discussing how those tricks are done; he has annotations referring to history books about magic. How deeply did he study the history of magic?

   He was a collector of magic books and knew the history of magic very well. I remember hearing him talk with others, including Bill Gresham, about famous magicians and their acts. A longtime member of the Society of American Magicians, he had friendships with the biggest names in magic from the 1930s into the 60s, and many of them performed on our backyard stage. Dai Vernon, John Mulholland, Harry Blackstone Jr., Milbourne Christopher, The Amazing Randi, Tony Slydini, Harry Lorayne, and plenty of others.

What are some nonfiction books he wrote about magic?

   The Golden Book of Magic and How To Entertain Children With Magic You Can Do are the two instructional books he wrote. I had one copy of the Golden Book and had nieces who all wanted copies. When eBay came along, I was able to buy many copies and give them away to relatives and friends who had children. I probably gave away 50 copies.

   He illustrated Al Bakers’ book Pet Secrets, and he was the co-author of books on gambling with magician and card manipulation expert John Scarne: Scarne on Dice and Scarne’s Complete Guide to Gambling.

Did your father write any work under pseudonyms?

   He worked under two names. He wrote the four Merlini Mysteries between 1937 and 1941. Stuart Towne was his pseudonym for stories about Don Diavolo, the Scarlet Wizard, and Mr. Mystery. They appeared in pulp magazines, Red Star Mysteries and Detective Fiction. The Don Diavolo stories appeared in the early 1940s.

Any idea why he decided to write another series as Stuart Towne?

   He used the pseudonym because he was under contract for the Merlini character and many too many ideas for just one magician/detective. The Don Diavolo stories were collected into one volume, Death Out Of Thin Air.

What would you say set your father’s approach to mystery stories apart from earlier writers?

   My father said that detectives solving most mysteries depend on following up on clues a la Sherlock Holmes. But my father also knew that most criminals had probably read Sherlock Holmes and knew how he used deductive reasoning — finding clues that are left by the perpetrator.

   The Great Merlini figured the criminals would leave false clues to confound the detectives. So, the Great Merlini used inductive reasoning — figuring how he would have committed the crime. Magic and Crime share one thing: deception. Merlini solves the locked room mysteries in this manner.

Is it true that your father sometimes used the Great Merlini as his stage name when he performed magic shows?

   Yes, he was always introduced as The Great Merlini. And The Golden Book of Magic was credited as authored by The Great Merlini.

How did his writing career develop as he became a family man?

   Most of his creative writing was done before I was born, and when the rest of his children were young. As we grew older, he had to get a “steady job” in publishing.

   At The Unicorn Press, he edited a magazine for their Mystery Book of the Month Club. He was the Picture Editor for the Funk & Wagnalls Yearbook for many years, then the Mystery Book Editor for Simon and Schuster and the Managing Editor of EQMM. During this time, he worked with Scarne on the two books I mentioned earlier.

   He also wrote the Complete Play Production Handbook with Carl and Dorthy Allensworth, neighbors of ours in Mamaroneck. The Allensworths were both involved in producing plays for our community. Carl Allensworth also wrote plays produced on Broadway.
As a mystery book editor at S&S and EQMM and his long membership of the MWA, he continued to have many mystery writer friends who attended the summer picnic in Mamaroneck.

On a more personal note, what was it like having a father who wrote for a living?

   When I was growing up in the 60s, he was working as an art director and editor. This was the time when he wrote the two books on magic, the book with the Allensworths, and ghostwrote Scarne’s Complete Guide to Gambling.

   There were times when my sisters and I were told not to bother him because he was writing. This was usually in the summer in the 50s and early 60s when he was working on the side porch before he had air conditioning in the attic, where he had his desk, typewriter, library, and magic equipment.

   A most memorable event was when my father came down from the attic and said he was quitting and couldn’t complete Scarne’s Complete Guide to Games. He got stumped and frustrated fiddling out and writing rules for playing Ma Jong.

   The last years of his life were not very good. He became, at times, extremely manic depressive, and it was seasonal. In the summer, he was full of energy and ideas. In the winter, he slept a lot and was not very happy. In 1969, he had a series of strokes and died a few years later.

   My father accomplished a great deal as an author, illustrator, and editor. The one thing he always wanted to do was produce a Broadway musical. He came up with the idea for one and even had a friend write a scene and lyrics to a song, for a “Fu ManChusical.”

Have you or any of your siblings pursued writing as a career?

   My brother Hugh began a long career as a writer with his first books, The Dictionary of Euphemisms and Other Double Talk and Wicked Words. He and his wife, Margaret Miner, wrote a series of books of collected quotations.

   After graduating from NYU, I worked my way up in the film/video/TV business and had to keep up with the changes in technology… film to videotape to digital media. I was an editor, cameraman, writer, and producer of industrial films, TV pilots, and entertainment specials. My career developed after his death. He did see one of my first films but never gave me any advice on writing. He did tell my sister something that I’ve kept in mind: “Write like Hemingway.” Short sentences.

   My last job before retiring was as Director of Development and Executive Producer of Non-Political Specials for Fox News Channel. I created, wrote, and supervised the production of 90 hours of news documentary specials… many marking the anniversaries of major events in American History. For example, the thirtieth anniversaries of Apollos 8, 11, 13, and 17. I also worked on specials about D-Day, Pearl Harbor, 911, JFK Assassination, Boston Marathon Bombing. When I got my first on-screen credit, I was able to say to my mother, “See, I was doing my homework.”

   My sisters both had a variety of careers. Joanna was first a potter and then a real estate salesperson. Sarah was an assistant at Sanford University and then for an internet startup. She became a potter after retiring a few years ago. Both have children and grandchildren.

Any writings by your father that haven’t been collected?

   The most complete collection was published by The Battered Silicon Dispatch Box in 2006. In three volumes, it includes the pulp magazine stories about Don Diavolo and Mr. Mystery (volume 1), and all of the Merlini novels and short stories (volumes two and three).

Any upcoming projects — books being reissued, new anthologies — you can tell us about?

   Currently, annotated editions of the four Merlini Mysteries are in the works. Neil Tobin, a magician and mentalist, came up with the idea and sold it to Vanishing Inc. for publication. Neil and I are communicating about it: I’ve checked things for him and scanned images from the first editions of the books for him.

What are some places people can find more information about your father — a biography, videos, things like that?

   The magazine Genii’s May 2001 issue featured him with a cover story and a wonderful article by Michael Canick about his life and career. That issue of Genii also reprinted articles my father wrote for the magazine many years previous.

   — Copyright © 2024 by G. Connor Salter. The photo images above and the videos below have been used with the kind permission of Clayton Rawson, Jr.
   

   Rawson has produced an image archive of his father’s artwork and books, The Great Merlini Scrapbook,

 and a short video about his father’s Dotty illustrations.

Both videos are available on YouTube. His upcoming work will include discussing his father and magic on Jeff McBride’s Magic & Mystery School Monday Classroom

About the Interviewer: G. Connor Salter is a writer and editor living in Colorado. He has contributed over 1,300 articles to various publications, including Mythlore, The Tolkienist, and Fellowship & Fairydust.

   I received the email below from Bill Pronzini today. Frank Bonham (1914-1988) was primarily a western writer, but he also wrote mysteries and science fiction, as well as a number of Young Adult novels. His career began in the pulps, which is where the interview begins. (His first published story was “Green Parrot,” which appeared in The Phantom Detective, September 1936.)

   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]

   It took a couple of weeks after I posted a review of The Red-Light Victim (Tower, 1981), a paperback original by Lawrence Kinsley, to track the author down, thanks to Google and the assistance of Mark Nevins, a mutual friend.

   You probably should go read (or re-read) the review again, before continuing. Here’s the link. I’ll reuse the cover image that I used then, but you’ll probably find it helpful to go back to read what I had to say about the book before reading Larry’s own comments on it. What I will tell you here, though, is that it’s a private eye novel, the PI in this case being Boston-based Jason O’Neil. In the background is the anti-nuclear movement of the early 1980s.

   This interview consists of a long comment that Larry left on that earlier blog post, somewhat edited to fit an interview-type format, along with his answers to a few additional questions I asked him.

Steve (SL): I’m glad I was able to get in touch with you, and of course it’s good that you’re still around to be gotten in touch with. Can you tell us something about the book, your reaction to the cover, and how it happened that a second book never happened?

Larry (LK): No, the nukes haven’t gotten me yet! Larry Kinsley is still alive, and am the author of The Red-Light Victim, though I had nothing to do with the cover pic! – that was strictly Tower Pub, which I doubt ever even fully read the book! In fact, I pretty much had an agreement with a scientific group named the Union of Concerned Scientists to review and publicize the book when it came out, but as soon as they saw the cover the agreement vaporized.

   Don’t know how much anyone would be interested in my subsequent tale of woe concerning the book. Suffice it to say that after I sold a second Jason O’Neill detective novel to Tower Pub, The Salem Cult, a year later, they went out of business three months before that book’s fall 1982 release date. Worse, they literally stole away in the middle of the night from their Park Avenue offices, taking all of my royalties from Red-Light with them! These included sales of the book to at least three different European countries, with translations, what Tower had previously told me was unprecedented for one of their mystery/detective books.

   As my writing career up to then had netted me approximately eighht cents an hour, and as at the same time my agent retired suddenly and I couldn’t re-market the second O’Neil book since Tower had already paid for a 15 year copyright, I decided at that time, aided by a sudden move out of the Boston area to Florida because of a work offer in the video retail business, to put my career on hold.

   Red-Light had been up for an Edgar as best first mystery novel, but didn’t win, I was told by Mystery Ink’s librarian, because Tower did nothing to push the book. Although I had other O’Neill books outlined, I simply for a number of reasons both financial and personal couldn’t continue at that time. Little did I know that my hiatus would last well over 30 years!

SL: What have you been doing in the past 30 years?

LK: I have recently retired from the retail business and am back in the writing game, though of course O’Neill himself is vastly out of date – in fact he took up residence in the retirement home for old detectives some time ago – but I do have an historical novel and a WWII spy novel in the pipeline, though no agent as of yet.

   I also spent several years writing a non-fiction book on the architect Frank Lloyd Wright’s campus of buildings at Florida Southern College near where I currently live, which is currently being looked at – no decision yet – by the History Press.

SL: Thanks for all information about The Red-Light Victim and what you’ve been doing since it was published. Do you now own the rights to the book? You mentioned that Tower had a 15 year long contract for the copyright, but that’s long past. And in that regard, have you considered finding a publisher specializing in reprinting oldout-of-print mysteries? There are quite a few actively putting out books today.

LK: You’re very welcome. I’m always interested in letting the reading public know something of the behind the scenes writing game.

   I don’t know much about publishers interested in publishing out of date mysteries – mine was so topical I really didn’t think about a re-release over 30 years later. Maybe by now enough people have come along who thing that the China Syndrome is a casual drug that there might be some re-interest in the topic. (In 1982 I was actually in the middle of negotiating a five-figure deal with a Hollywood producer to sell the screen rights to the book to him when China Syndrome screened, and the deal fell thru.)

   I do own the rights since Tower had only a 15 year window, even if with the failure to pay royalties they had even that, and when the book was published a couple of lines was left out of one chapter which has always nagged me. In fact I have computerized the novel, making a few improvements mainly in the grammar and syntax, so I suppose I could try to market it again.

   I am juggling a couple of other books now, so I will see, but thanks for the suggestion. I also have the second novel in the O’Neill series on the computer now, and may make an attempt with that at some time, though it’s probably even a bit more time sensitive than Red-Light and may not be publishable.

SL: Have you been keeping up with the mystery field in recent years?

LK: Other than rereading Chandler and Hammett, I must confess that I have pretty much put mystery reading as well as writing in the rearview mirror. My current knowledge of the detective/mystery field is severely limited.

SL: Thanks for taking the time to talk with me this way, and for agreeing to have our discussion put online.

LK: I certainly appreciate your interest. Basically I’m just an old gumshoe geezer now whose 15 minutes of near fame has long come and gone, and is probably wasting his time trying finally to get 15 more. But what the heck, I can still breathe, and a writer is usually a writer until his last breath!

EN: When you wrote the first Brother Cadfael mystery, did you plan on making it a series?

EN: Will you ever do another Inspector Felse?

EN: When you started the Inspector Felse series, you and Michael Innes were the only two who mentioned the home life and family of the officer. What kind of research into police practice did you have to do?

EN: You have used archaeology in some quite unexpected places. Was this deliberate?

EN: Could the water have come up and been doing the damage to the bank that disclosed the heating pipes?

EN: Have you always lived in that area?

EN: Do you speak Welsh?

EN: If you had been brought up in another part of Great Britain, how different do you suppose your books would have been?

EN: Over a period of time have you accumulated an extensive reference library?

EN: Now that you are a well-known resident of Shrewsbury, do you find that people are bringing to your attention things that you might have had to research on your own?

EN: In The Heretic’s Apprentice you described just how parchment was made. I was fascinated.

EN: I just finished your new book, The Summer of the Danes, and wondered why the Danes lived in Ireland.

EN: How and when did the war between King Stephen and Queen Maud finally get settled?

EN: When you finish the 12th century books that we are reading in the 20th century and know who did it and why, do you, in your mind, interpret justice as it was then in their context of right or wrong, or as the way we perceive it today?

EN: Are you a Roman Catholic?

EN: What do the Benedictines think of the books?

   EP: I have quite a number of Benedictine correspondents and even a lot of clerics and a lot of historians, and on the whole, they very much approve. And they approve of what you’ve touched on, this sense of human compassion coming into the question of justice. They’ve been a great help to me, and they’ve given me great encouragement.

[UPDATE] 06-23-12. Ellis Peters wrote 13 books in her Inspector Felse series; the last one appeared in 1978. She also wrote 20 books in which Brother Cadfael appeared, two of them after this interview took place. Both she and and my good friend Ellen Nehr died in 1995.

   Those of you who are pulp collectors, and maybe even if you aren’t, you might want to take a look at a lengthy interview Laurie Powers did with Walker Martin on her blog, where many of the posts always seem to have something to do with either pulps or pulp collecting.

   Walker, of course, is an occasional contributor and a frequent commenter here on the Mystery*File blog, as regular visitors already know. Over on Laurie’s blog, the primary topic of their question and answer conversation is “My Favorite Pulps,” referring to Walker’s collection, but that’s just the starting point.

   Unfortunately Walker and I have known each other for 40 years, so I have to admit I knew all the answers he was going to give before he gave them, but it’s still interesting reading. Go, read, but do find your way back!

   Before beginning the interview below, you may want to go back and read a previous post entitled The Compleat Cases of MORGAN TAYLOR. Morgan Taylor was the actress-sleuth created by Susan Sussman and Sarajane Avidon who appeared in two well-regarded mystery novels before the death of Sarajane in 2006.

   After the profile of the Morgan Taylor the detective had been completed, I got in touch with Susan Sussman, who quickly agreed to answer a few questions for me:

Q. Can you say something about your friendship and collaborative work with Sarajane Avidon, especially the Morgan Taylor books? And my most sincere condolences on the loss of someone who appears to have been a best friend.

A. I met Sarajane many years back, between our junior and senior year of high school, when we were both enrolled in the Cherub Program at Northwestern University — Sarajane was in theater, and I was in Radio/TV/Film. I was from Chicago and she was from Parkersburg, West Virginia.

   The books came about when Sarajane was battling cancer, unable to act for a while. She was feeling depressed and I suggested that, since she was sprawled on the sofa not doing much of anything, perhaps she’d like to write a book with me about a Chicago actress. It was the perfect creative outlet for her at the perfect time.

Q. As I understand it, her input was largely, but not limited to, that of providing and describing the background of being an actor and the world of the stage, would that be correct?

A. How we worked was, I’d write a scene or chapter, and Sarajane would read it. Then we’d discuss it over refreshments (there was always food involved) and she would say something like “You didn’t mention theater dust. You must mention theater dust.” Then she’d arrange for us to go backstage someplace so I could smell and experience theater dust and describe it in the book.

   She was a brilliant and careful reader and brought a richness to the theatrical and angst-riddled world of Morgan Taylor.

Q. Are you a long-time mystery reader yourself?

A. I’ve been reading mysteries since I was very little. Cut my teeth on Nancy Drew mysteries. (The original old ones. She was much more independent and inventive in those years.) I love mysteries, always have, although the books on my nightstand run a wide gambit.

Q. What authors from the past or present are and have been your favorites?

A. For true-to-life characters, Stephen King; for humanity, Ray Bradbury; for humor, Susan Isaacs and Elaine Viets; for razor-sharp political commentary, Carl Hiaasen; for scary stuff, Tess Garritsen…. the list goes on and on. My nightstand is piled high with fiction and non-fiction, screenplays, plays and some sheet music I keep promising myself I’ll learn to play.

Q. Was Morgan Taylor based on any real life person? If so, was this person aware of this?

A. Morgan was entirely a figment of my imagination. As a writer, I much prefer life behind the scenes. Sarajane, the consummate actress, was all about finding the brightest spotlight in which to stand. Sarajane told me that, after the first book was published, she received calls from friends of hers who were convinced they were one character or another in the book. She never told them otherwise. But this happens with many books. Friends think they are my heroes and heroines and are certain they know the villains.

Q. If the Morgan Taylor stories were to be picked up by Hollywood for movies or TV, what actress would you most enjoy see playing her in the role?

A. I would love to see Joan Cusack in the role. In fact, I think she’d be knock-out in a weekly series based on Morgan Taylor (…sort of a Murder, She Wrote for the younger set.) Joan has the humor, the vulnerability and the talent to bring Morgan alive and make us care what happens to her.

Q. The books were received quite well, from the excerpts from the reviews. Would you agree?

A. We were blessed with wonderful and lively reviews, and our appearances in bookstores were always a great hit. What we did was act a scene from the book. Sarajane was a gifted actress and I was a superb straightman.

Q. A third book was mentioned as being in progress. Is there a chance that it will be completed?

A. At the moment, a play Sarajane and I wrote — Woman Standing — is in the hands of a Chicago theater. It was a labor of love for us both and was based on the life of Chicago artist Shelly Canton. I’m waiting to hear from the theater on that. Meanwhile, I’ve just published a children’s book and am under contract for another. I have all the research for the next Morgan Taylor book, and have outlined two others.

   But at this moment I can’t honestly say what will happen. I’m just taking things as they seem to be ready for me to do. The play was a really big push — Sarajane died soon after our second reading done with professional actors — and I’ve just recently finished incorporating her ‘notes’ from the reading into the final play. So these children’s books are like a breather for me before I gear up for the next novel.

Q. Is there anything you’d like to say or add in closing?

A. I haven’t yet been able to access your blog, so I hope my angle of response is what you were looking for. Sarajane Avidon was a fabulous actress and friend and those of us who knew her are richer for it.

Q. Your responses were exactly what I was looking for. Thanks very much for taking the time to reply.

A. You’re welcome!

  Hi Steve,

   Well, Death of a Punk seems never to actually die. I’m flattered that you went to such effort to track me down, although I liked the idea of being the 87 year old guy.

   To answer your questions:

   I wrote the book because in the 70’s, I was a big Raymond Chandler fan and also an habitué of the nascent Punk Rock scene (although we referred to it at the time as “New Wave”) in the Lower East Side of NYC. I used to hang out at CBGB’s in the early days to hear yet-to-be-signed bands like Television, The Ramones, The Talking Heads, Patti Smith, Blondie, and many other less famous ones. I simply decided to create a kind of fat, bald, failed Marlowe and drop him into the craziness of that scene.

   One band I went to see a lot was The Mumps, whose lead singer was Lance Loud of An American Family fame. I got to know his minor-celebrity mother, Pat Loud, who at the time worked at a literary agency. I mentioned to her that I’d written about 40 pages of a trashy detective novel set in the New Wave scene and she said, to my genuine surprise, to send it to her at the agency. She read it and told me that if I finished it, her agency would represent me. I was flabbergasted because I had been writing it simply to entertain myself; I had NO idea of getting it published or even of TRYING to get it published.

   Shortly after I finished it, Ann Patty, a young editor at Pocket Books (who is now executive editor at Harcourt), bought it. And the rest, as they say, is history. Or, put another way, it sank like a stone. There were pockets of high volume sales, which not-so-coincidentally were located in the only places in the US at the time where New Wave Rock was popular: NYC of course, LA & SF, but also Cleveland, Boston, Athens, GA, and Seattle. I got a lot of fan mail from those towns.

   Foreign rights were sold to Germany (where it went through two printings as Tod eines Punk with the worst cover ever; I’ve never been able to collect royalties) and France, as you found. I sold the movie rights three times because certain producers smelled an album tie-in, and I was paid by one to write a screenplay adaptation, but nothing ever came of it. Is this more than you want to know?

   Why has the price skyrocketed? Well, I started buying up copies on the Internet in the early 90’s. I refused to pay more than five bucks per copy and very few cost more than that. Gradually the prices started to climb. I think it was in 1995 that I was astonished to see that a store in Minneapolis wanted $29.95 for it. I even wrote the guy and asked what was up with that. He wrote back that he was buying up all the cheapo copies he could find because they sold for his price as fast as he could list them. In the next few years, the cheapos pretty much disappeared. Soon the average price had risen to about $50. I couldn’t believe it.

   I started getting fan mail again because, like you, readers were able to find me. Then, around 5 years ago, I saw one on abe.com for more than $100. I wrote to the vendor in San Diego and asked him why he was charging such an outlandish sum for it. He responded that every copy he listed sold immediately no matter what the price and that the $100 one had also just sold. He told me he was going to raise the price again if he came across more copies. Prices started to climb into three figures and stayed there.

   About two years ago, they started selling for lower four figures; I think the post on your blog about those prices must be correct. I can’t believe anyone would actually pay that much in any case. You can get Hemingway first editions for less. As for WHY it’s selling for so much… I think it’s because it’s set in that now-famous time and place, and many of the peripheral characters seem to be based on now-famous people, although I vehemently deny that vicious canard; any resemblance to persons living, dead, or otherwise is purely coincidental and exists wholly in the fevered imaginations of certain wacky readers. Judging from the fan mail, people seem to find it funny and entertaining too.

   Why is it scarce? When it came out, it had no advertising budget. Pocket Books was putting all their chips on the paperback edition of The World According to Garp, releasing it with six different covers and a huge promotional budget. The pleasant middle-aged ladies in the publicity department didn’t know what to make of D.o.a.P. (I even had a glowing blurb from Debbie Harry that they refused to use because they hadn’t really heard of her) and advised me to go to bookstores and buy copies to extend its shelf-life.

   They set up a few radio interviews but I did most of the promoting myself through my connections in the music world. I did manage to steal a box of promo copies from the PR office, which I distributed as judiciously as I could to media types. While it got rave reviews in hip-but-little-read places like Andy Warhol’s Interview Magazine, the few reviewers in the mainstream press who wrote about it were a bit nonplussed; the Denver Post paired its review of it with an alternate-history novel about World War III by an ex-general . The reviewer segued into the D.o.a.P. portion thusly: “Going from the globe to the gutter…”

   I liked that very much. If D.o.a.P. is ever re-published, I want the cover copy to read: “It Goes From the Globe To the Gutter!”

   What’s up with Who Killed the Snowman?: After an editorial meeting at Pocket Books, it was decided to change the title to W.K.t.S.? When they told me about the change, they also showed me a mockup of the cover. Basically they wanted to take a book that had to do with the edgy part of the pop music world (which they didn’t understand) and change it to the generic part of the drug culture (which they did understand).

   While no expert in marketing, I didn’t think it took much brainpower to understand that marketing a book as though it’s about one thing when it actually isn’t, pretty much guaranteed failure. I went into Ann Patty’s office, stamped my feet, flailed my arms, and pouted until she agreed to try to get it changed back to Death of a Punk. In the end, we prevailed but not before they’d registered the ISBN as Who Killed the Snowman? That’s why one can still find mention of Snowman in hoary medieval databases.

   One side story: The cover with “The Punk” was painted by the best Pocket Books house artist, whose name escapes me now. He’d done many classic paperback covers in the 60’s and 70’s. The reason the Punk’s left hand is in that goofy position is that in the original painting he was holding a cigarette.

   The same marketing geniuses who’d come up with W.K.t.S? decided that potential buyers who didn’t smoke or who wanted to quit might subconsciously be deterred from buying the book by the presence of the cigarette. As you can imagine, I stamped, flailed, and pouted again, but to no avail. They had STATISTICS, and a marketing person with stats is as immovable as a large stone and just as smart.

   Anyway, I’m sure this is much more than you wanted to know, but in the event that you would like more D.o.a.P. (or Dope, as I call it) info, don’t hesitate. And if you or one of your fellow bloggers actually READS the book, I’d love to know whether it was enjoyed or if it induced sleep…

   Stark House will publish its first three-fer this summer – three Gold Medal novels long in need of reprinting. I wrote the introduction to Charles Runyon’s The Prettiest Girl I Ever Killed, a masterful suspense novel that puts Runyon in the top ten of GM writers in such company as Lawrence Block, John D. MacDonald, Charles Williams, Vin Packer, Richard Stark, Malcolm Braly and a handful of others.

   At the time I wrote the introduction I was told that Runyon was dead. Not so. He’s very much alive, and here’s an interview I recently had with him via email.

   [Note: This interview previously appeared in three installments on Ed’s blog. Links at the end of this M*F blog entry will lead you to a complete bibliography of Charles Runyon’s fiction and an article he has written about a book that’s never been published, Dorian-7.    — Steve]

● The obvious mystery to those who were following your career – when did you stop publishing and why?

● Can you give us a sketch of your life?

● How about a sketch of your publishing career? Was writing something you’d always wanted to do?

● Do you recall your first sale?

● Which gave you more satisfaction as a writer – science fiction or crime novels?

● What was the genesis of The Prettiest Girl I Ever Killed?

● Prettiest Girl is invariably likened to the novels of Jim Thompson but when I reread it recently my take was that there is a fundamental difference between your book and just about anything Thompson wrote. Your killer in control of himself – unlike many of the Thompson protagonists who seem hard-wired to be at the mercy of themselves – and he’s even a bit droll and sardonic at times. In other words, he can stand back and look at what he’s doing objectively.

   The cumulative effect of this subtly but powerfully underscores his madness. Given the verities of paperback originals, this was an original approach. Did you think of it that way? Or are you even conscious of your writing decisions? Evan Hunter always said that he tried not to analyze what he was doing. He was afraid it would hamper his spontaneity.

● Sometimes you sound almost dismissive of your crime fiction. Your science fiction seems to be your true love. Are you unhappy when people say they prefer your crime fiction to your sf?

● You’ve written some of the most remarkable opening chapters in suspense fiction. The first five thousand words of The Dead Cycle, for instance, put me in mind of The Doors’ “Riders on The Rain.” Except that where the song is from the innocents’ point of view, this is from the Riders pov. There’s a mythic quality – almost of the old west – of the robbery gone wrong, an elderly clerk shot dead by one of the Riders, and them now desperately trying to get to the Mexican border.

   This is so much more realistic than much of the neo-noir we see today because the turf is real and you know this turf, the small-town Midwest. But it’s the underbelly of the Midwestern small town you usually use. Was this intentional given that it’s the setting of so many of your Gold Medal novels?

● The Black Moth, which is set on a college campus, is a notably different private eye novel in that the protagonist is a PI masquerading as a professor. But even here, in a more refined setting than you usually use, the writing stays hard as hell. Your books are proof that tough guys don’t have to swagger or be violent to prove that they’re tough. They’re hard asses and no less so when they don academic robes. Was Black Moth based on your early experiences teaching college courses?

● What was your best career experience?

● What was your worst?

● You mentioned that you’ve been writing a science fiction trilogy. Have you given any thought to a crime novel?

● Do you read contemporary writers? If so, name a few you feel are notable.

● Which of your novels would you most like to see reprinted and why?

    There are at least three that might go down well with today’s readers. The Last Score was rushed to completion as a work-for-hire, for Manfred Lee and Fred Dannay, and published under their byline of Ellery Queen. I still have a paternal affection for the book, and would like to see it reprinted under it’s “rightful” parentage.

   Also, there was one I wrote under the nom de plume of Mark West, which was published under the unforgettable title: Object of Lust. Another rush job, done to the background music of a wolf growling outside the door, but I think it’s worthy of another shot at the gold ring. If you recall the old limerick beginning: “There once was a hermit named Dave …” you’ll have an idea of what it’s about. And finally there’s my first one, The Anatomy of Violence, which still holds my interest despite a klutzy romantic element.

      —

Charles W. Runyon: A Bibliography

The Curse of Dorian-7