Thu 25 Feb 2016
JOHN B. WEST – Death on the Rocks. Signet S1883; paperback original, 1st printing, January 1961.
I mentioned in the comments to Steve Mertz’s recent review of a Carter Brown book that I was in the process of reading this one, very much in the same tough hardboiled private eye genre, and that I would report back on it when I finished.
I’m a little late — I finished it a couple of nights ago — but finish it I did, and here’s my report: I enjoyed it.
Assuming I should say more, I will continue. In that previous conversation, it was pointed out by someone, perhaps it was me, that West’s PI character, Rocky Steele, was one of the few (if not only) PI characters created by a black author.
Here’s what Max Allan Collin’ review, reprinted on this blog, said about the author: “John B. West was a man of many talents and achievements: A doctor, he was both a general practitioner and a specialist in tropical diseases; he was also the owner of a broadcasting company, manufacturing firm, and hotel/restaurant corporation. He lived in Liberia, was black, and late in his life — as a pastime, apparently — wrote novels about white private eye Rocky Steele, of New York City.”
This is the last of six such novels, this one published posthumously, and while the fact that West was trying to channel Mickey Spillane in writing these books, it was a long time coming in this one before I saw the connection.
The plot has something to do with a fabulously valuable diamond, and as you know, when fabulously wealthy diamonds come up in mystery stories, a lot of dead bodies always ensue. And so it is in Death on the Rocks.
The story plays out in four stages: First, in New York City where Rocky is about to set sail to Liberia for a long-awaited vacation. Three people die, two at Rocky’s hand. Then a long, mostly uneventful cruise across the Atlantic, during which Rocky meets a ravishing platinum blonde diamond dealer, whom Rocky must keep company with overnight every night after a woman is killed in Miss Stark’s cabin, most likely thinking the victim was Miss Stark.
Then comes a picturesque stay in Liberia, in which the author show that he has more skills as a writer than he tries not to let on during the rest of the book. I’m not sure, but all of the dead bodies occurred before Rocky arrived.
The fourth part of the book is when the fireworks are unleashed, as Rocky goes on a hot trail of revenge (Lisbon and Majorca) on the killer who almost succeeded in bringing down Rocky and an equally unlucky passenger in a small plane in which the fuel supply was tampered with. There’s a moderately obvious twist to the tale, but all the stops really come out at the end, crudely written, perhaps, but very effectively so.
As I said, I enjoyed this one.
February 25th, 2016 at 10:02 am
I read this one years ago= I don’t have my database handy but I’m guessing the 1970s – and I liked it too.
February 25th, 2016 at 12:07 pm
I understand this is supposed to be his best book and the only one set in West Africa.
February 25th, 2016 at 5:08 pm
West was black and wrote about a white PI; Ed Lacy was white and wrote about a black PI
February 25th, 2016 at 10:39 pm
This was by far the best book in the series, though I enjoyed the others as generic vaguely Spillanish outings with something of Peter Cheyney’s thud ear for contemporary American jargon. For whatever reason I liked Steele and West.
Ed Lacy was married to a black woman, and began introducing black characters into his work as important characters fairly early. Of course there was Octavus Roy Cohen’s Florian Slappy before him but Lacy gets pride of place for the first serious black eye, and a damn good one. George Bagby’s Pharaoh Love was a cop, and far from a serious outing from the same general era.
Not a private eye or mystery writer, but bestselling historical novelist Frank Yerby was an expatriate black American writer who stayed near the top of the bestseller list from the late forties well into the seventies. A few of his books fit what Al Hubin calls “associational.”
Chester Himes is far and away the most important black writer in the genre in this general period with Coffin Ed and Gravedigger, who may be cops but behave a lot like private eyes. All of the protagonists of Donald Goines work I recall were criminals.
John Ball was white of course and Virgil Tibbs a policeman. I don’t think there is a major black private eye until Ernest Tidyman’s John Shaft or one by a black writer until Walter Mosely and Easy Rawlins, though a few black eyes are sprinkled around usually written by white writers between Shaft and Rawlins.
For anyone not familiar Liberia was an African nation founded by former American slaves and had an unusually large English speaking population.
February 25th, 2016 at 10:49 pm
George Baxt, I think.
February 25th, 2016 at 11:14 pm
Of course, George Baxt (not Bagby) wrote about Pharaoh Love.
May 18th, 2021 at 7:55 pm
I hate Youtube. I despise and loathe Youtube.
But tonight I was reflecting on just how great John Ball’s “In the Heat of the Night” was realized on screen by the always-underrated Sidney Lumet and I went there to check out a key scene or two (after the auto-advertisements played themselves out, naturally, gag)
It makes me mist up, just how great this film is. Just to watch it any few seconds of it play out before my eyes. I’ve seen it at least ten times but never fail to marvel at it.
I took a look at the scene where Rod Steiger (Gillespie) realizes his deputy (Warren Oates) has hauled in a Northern police officer (Sidney Poitier) as a murder suspect and in essence, shits-his-britches.
Who can as for more? Are you kidding me? Steiger, Oates, and Poitier. Unbelievable.
The whole film long, Steiger never smiles. His character has (as minor character Scott Wilson says) “Gillespie ain’t got no more smile than a turnip”. Doesn’t smile, not once. Not until he bids the black officer goodbye after closing the case.
Man…has this heart-warming flick ever been reviewed on this site? I’d be eager to hear what other viewers have to say. Similarly, ‘Anatomy of a Murder’. Great guns.