Sun 18 Nov 2018
Western Pulp Stories I’m Reading: Two by D. B. NEWTON.
Posted by Steve under Pulp Fiction , Stories I'm Reading , Western Fiction[13] Comments
D. B. NEWTON “The Claim Jumpers.” Novella. First published in Best Western, September 1952 as “Who’ll Take the Cowgirl?” First collected in Range of No Return (Five Star, hardcover, 2005; Leisure, paperback, December 2006).
In his long foreword to the two-story book collection, Jon Tuska makes the case for his theory that D(wight) B(ennett) Newton would be a lot more known today if he hadn’t been pushed by his agent to have much of his work published under pseudonyms. Names other than his own that he used over the years were Dwight Bennett, Clement Hardin, Ford Logan, Dan Temple and Hank Mitchum (eight of the long-running “Stagecoach” series in the 1980s).
There’s a lot of truth in that statement. I’ve enjoyed all of the novels I’ve read by the above “authors,” and going back to the later years of his pulp-writing days, both of the two stories in Range of No Return are very well done. (His first published pulp western was in 1938, and over the years he wrote 150 or so more of them.)
“The Claim Jumpers” takes place at an actual event, the Cherokee Strip Land Run (Oklahoma, 1893), as have many other stories and dramatic films over the years. Newton’s story does not rely on its historical significance, however. Rather it’s one told on a personal basis, which to me makes it all the more effective. When three cowpoke partners lose their fourth in the plan they’ve come up with, one of them succumbs to the charms of a woman he happens to meet, and he asks her to help them out.
Things don’t go well, however. Someone seems to have leaked their plans to some Sooners who have settled into the land the partners had planned on settling, and they’re well equipped with guns. Did the girl betray them? All signs point to it.
This is a story that combines a historical background with both action and characters that have some character to them, and at 70 pages, there’s plenty of time for Newton to develop both.
— “Range of No Return.” Short novel. First appeared in Complete Western Book Magazine, June 1949. Also first collected in Range of No Return (see above).
And if anything, “Range of No Return” is even better. At almost twice the length of “The Claim Jumpers,” the action is nearly non-stop, but more than that, it fits in naturally with the story Newton has to tell. No gunfire for the sake of gunfire.
Which is that of a young rancher who was framed for rustling cattle in his home town five years ago. With the sheriff’s assistance, who believed him innocent, he made tracks for Mexico, but now that his notoriety has died down, or so he hopes, he’s back, trying to pick up where he left off before his troubles began.
But he’s wrong. The local ranchers have not forgotten, including the female owner of the ranch next to his. There are a couple of small twists in the tale from this point on, but they’re, I admit, only minor ones. But Newton has a good eye for describing his characters, as well as the area of Arizona hills and grasslands he places them in. Even though the basic story line is a familiar one, this is a solid piece of writing.
If you’re a fan of western yarns, you could do a lot worse than to check out more of Newton’s stories, even his early purely pulp fiction. It’s better than most.
November 18th, 2018 at 11:03 pm
Surprising how much entertainment value there still is in the old Western pulps considering how little respect they got in comparison to the mystery, horror, and SF magazines.
November 19th, 2018 at 12:34 am
David, I wonder if the reason Westerns failed to get some respect was the simple black and white, good versus evil, moral driven stories the genre was famous for versus the more complex darker stories of the other genres. Have not read much western pulps but the movies and TV (with many exceptions) often were too simple and straight for adult critics.
Of course your point is even more valid if that is true.
November 19th, 2018 at 3:09 pm
David and Michael
You bring up some interesting questions. Here are some thoughts I have.
Back when the pulps were being published, none of them had any respect from literary critics. All they had were readers, and I *think* back then, there were more western pulp magazines published than any other genre, and westerns pulps lasted longer than any of the others.
Collectors today are not interested in western pulps, especially those from the 1940s on, with absolutely no interest in either title that the two Newton stories covered by my review were published in. But I enjoyed both, and I can easily imagine that there are lots of others from the same era that are equally good.
Westerns as published in paperback is a genre that does not exist any more. Is is a line that died out several years ago, just as Gothics and Regency romances did before that. Western movies are still occasionally being made, but most do not seem to do well. Are there any contemporary TV westerns?
I find that I cannot watch old B-movies from the 30s and 40s any more, even the ones with the bigger stars like Hoppy and Roy. I can watch TV westerns from the 50s and later, though, as in general they were intended for adults.
Again, just some observations of mine that came about after reading your comments.
November 19th, 2018 at 1:24 pm
Western pulps may have received little respect but aside from the love pulps they were the best selling genre back during the pulp era of approximately 1900-1955. Readers loved the formula and could not get enough of it.
November 19th, 2018 at 3:15 pm
Walker
Your comment arrived during a long interruption that occurred as I was writing mine. Your statement that western pulps were big favorites at the time is very true, at least as far as readers were concerned.
November 19th, 2018 at 4:01 pm
By the way I just ordered THE RANGE OF NO RETURN, the 2006 Leisure paperback edition mainly because of the long introduction. On abebooks it was only $4.99 for a VG copy, including postage.
Steve is right about few collectors bothering with westerns. But there are a few in addition to myself. Matt Moring of Altus Press likes westerns but realizes that very few readers do and so he does not publish many western reprints.
There used to be a hundred Max Brand collectors among pulp collectors but most have died off. Digges La Touche is one of the few guys still collecting and excerpting Max Brand. He’s the last of the big time Breakers. Most Breakers stick to breaking up slicks for the advertisements but Digges is the only one left who breaks pulps.
November 19th, 2018 at 6:10 pm
I see I paid $2.50 for my copy of the paperback. I bought it at an L.A. used bookstore, and the price is penciled in.
It’s worth that and even the $4.99 you paid for the introduction by Jon Tuska. He covers Newton’s life and writing career quite thoroughly, and I think you’ll enjoy it too.
November 19th, 2018 at 6:14 pm
From Newton’s Wikipedia page, here’s a bibliography for him. Note that the list of magazine stories is extremely shorter than it should be:
As “D. B. Newton”
Guns of the Rimrock, Phoenix Press (1946)
Range of No Return, Complete Western Book magazine (June 1949)
The Outlaw Breed, Gold Medal Books (1955)
Maverick Brand, Monarch Books (1962)
On the Dodge, Berkley (1962)
Guns of Warbonnet, Berkley (1963)
Bullets on the Wind, Berkley (1964)
Fury at Three Forks, Berkley (1964)
The Savage Hills, Berkley (1964)
The Manhunters, Berkley (1966)
Hideout Valley, Berkley (1967)
The Tabbart Brand, Berkley (1967)
Shotgun Freighter, Berkley (1968)
The Wolf Pack, Berkley (1968)
The Judas Horse, Berkley (1969)
Syndicate Gun, Berkley (1972)
Massacre Valley, Curtis Books (1973)
Range Tramp, Berkley (1973)
Bounty on Bannister, Berkley (1975)
The Landgrabbers, Popular Library (1975)
Trail of the Bear, Popular Library (1975)
Broken Spur, Berkley (1977)
As “Dwight Bennett”[5]
Stormy Range, Doubleday & Co. (1951)
Border Graze, Doubleday & Co. (1953)
The Avenger, Permabooks (1956)
Cherokee Outlet, Doubleday & Co. (1961)
Rebel Trail, Doubleday & Co. (1963)
Crooked River Canyon, Doubleday & Co. (1966)
Legend in the Dust, Doubleday & Co. (1970)
The Big Land, Doubleday & Co. (1972)
The Guns of Ellsworth, Doubleday & Co. (1973)
Hangman’s Knot, Doubleday & Co. (1975)
The Cheyenne Encounter, Doubleday & Co. (1976)
West of Railhead, Doubleday and Co. (1977)
The Texans, Doubleday & Co. (1979)
Disaster Creek, Doubleday & Co. (1981)
As “Ford Logan”[5]
Fire in the Desert, Ballantine Books (1954)
As “Dan Temple”[5]
Bullet Lease, Popular Library (1957)
Gun and Star, Monarch Books (1964)
As “Clement Hardin”[5]
Cross Me in Gunsmoke, Ace Books (1957)
The Lurking Gun, Ace Books (1961)
Outcast of Ute Bend, Ace Books (1965)
The Ruthless Breed, Ace Books (1966)
The Oxbow Deed, Ace Books (1967)
The Paxman Feud, Ace Books (1967)
Ambush Reckoning, Ace Books (1968)
Sheriff of Sentinel, Ace Books (1969)
Colt Wages, Ace Books (1970)
Stage Line to Rincon, Ace Books (1971)
The Badge Shooters, Ace Books (1975)
As “Hank Mitchum”[5]
Dodge City: Stagecoach Station #1, Bantam Books (1982)
Laredo: Stagecoach Station #2, Bantam Books (1982)
Santa Fe: Stagecoach Station #6, Bantam Books (1983)
Tombstone: Stagecoach Station #4, Bantam Books (1983)
Carson City: Stagecoach Station #13, Bantam Books (1984)
Deadwood: Stagecoach Station #11, Bantam Books (1984)
Leadville: Stagecoach Station #20, Bantam Books (1985)
Tulsa: Stagecoach Station #26, Bantam Books (1986)
Short stories
As “D. B. Newton”[5]
“Swing High, Nester!”, Lariat Story (March 1949)
“White Thunder of the Cherokees”, Frontier Stories, (Summer 1949)
“Three Guns and a Girl”, Best Western (September 1951)
“Rogue’s Rendezvous”, Rio Kid Western (January 1952)
“Stage Coach West”, Frontier Stories (Spring 1952)
“The Slack Rein”, Western Short Stories (June 1952)
“The Kid Who Wouldn’t Talk”, Best Western, (July 1952)
“The Kid That Satan Sent”, Western Novels and Short Stories (April 1953)
“Mule Tracks”, Bad Men and Good (WWA anthology), Dodd, Mead, (1953)
“Chain of Command”, With Guidons Flying (WWA anthology), edited by Charles N. Heckelmann. Doubleday & Co., (1970)
“The Storm Riders”, Zane Grey Western (October 1970)
As “Dwight Bennett”[5]
“Trail’s End at the Hangtree”, Five Western Novels (October 1951)
As “Jackson Cole”[5]
“The Barbed Barrier”, Texas Rangers (July 1953)
Teleplays
Cimarron City[5]
“Kid on a Calico Horse”. Teleplay by Dwight Newton and Thomas Thompson. Story by E. Jack Neuman (April 28, 1958)
Colt .45[5]
“Under False Pretenses”. Teleplay by Dwight Newton. Story by Elmer Kelton (October 3, 1959)
Overland Trail[5]
“Daughter of the Sioux”. Teleplay by Dwight Newton (January 6, 1960)
Shotgun Slade[5]
“Mesa of Missing Men”. Teleplay by Dwight Newton (June 19, 1959)
“Barbed Wire”. Teleplay by Frank Bonham and Dwight Newton (July 17, 1959)
“Major Trouble”. Teleplay by Bob Mitchell and Dwight Newton. Story by Ralph Conger (July 30, 1959)
“Bob Ford”. Teleplay by Tod Ballard and Dwight Newton (August 24, 1959)
Tales of Wells Fargo[5]
“The Hasty Gun”. Teleplay by Dwight Newton (January 28, 1957)
“Shotgun Messenger”. Teleplay by Dwight Newton and Sloan Nibley (February 26, 1957)
“Jesse James”. Teleplay by Dwight Newton (March 5, 1957)
“Ride With a Killer”. Teleplay by Verne Athanas and Dwight Newton (March 19, 1957)
“Fort Massacre”. Teleplay by Dwight Newton and David Chandler. Story by David Chandler (April 8, 1957)
“Luke Frazer”. Teleplay by Dwight Newton. Story by T. T. Flynn (July 9, 1958)
“The Branding Iron”. Teleplay by A. I. Bezzerides and Dwight Newton (August 6, 1958)
“Wild Cargo”. Teleplay by Dwight Newton. Story by Steve Fisher (August 14, 1958)
“The House I Enter”. Teleplay by Dwight Newton. Story by William F. Leicester (October 31, 1958)
“The Last Stand”. Teleplay by Dwight Newton. Story by John Cunningham (November 21, 1958)
“Tall Texan”. Teleplay by D. D. Beauchamp, Mary Beauchamp and Dwight Newton (January 13, 1959)
“Kid Curry”. Teleplay by D. D. Beauchamp and Dwight Newton. Story by D. D. Beauchamp (March 6, 1959)
“The Daltons”. Teleplay by Dwight Newton (April 9, 1959)
“The Dynamite Kid”. Teleplay by Dwight Newton (September 1, 1959)
“Frightened Witness”. Teleplay by Dwight Newton and Barney Slater. Story by Dwight Newton (October 27, 1960)
Wagon Train[5]
“The Jesse Cowan Story”. Story and teleplay by Dwight Newton (October 28, 1957)
“The Bill Tawnee Story”. Teleplay by Rik Vollaerts and Dwight Newton. Story by Rik Vollaerts (February 12, 1958)
Whiplash[5]
“Convict Town”. By Dwight Newton (September 17, 1960)
November 19th, 2018 at 6:29 pm
Actually a handful of pulps did receive a modicum of respect, ADVENTURE, BLUE BOOK, ARGOSY, BLACK MASK,and WEIRD TALES to name a few, and to some extent ASTOUNDING and UNKNOWN. Even Dan Turner achieved a certain recognition by S. J. Perlman who did something similar for Sax Rohmer.
Yet despite the reputation of some Western pulp writers (Ernest Haycox was frequently featured by major book clubs and appeared regularly in the slicks) the Western remained in its ghetto. It may be as simple as the genre did not produce it’s equivalent in the mainstream conscience of a Lovecraft, Bradbury, Heinlein, Hammett, Chandler, Lamb, Mundy, or crossover writers like Nebel, Fisher, Sale, Chidsey, Leslie Turner White, Edison Marshall, Van Wyck Mason, Sabatini, and such.
Only Haycox and Luke Short got more than a foothold in the slicks and many who started in the pulps like Alan LeMay put them well behind them with success.
But there is no equivalent of the pulps above in the Western genre, no one title that stands out on literary merit and popular imagination (and many of the best writers appeared in ADVENTURE, ARGOSY, and BLUE BOOK). I’ve frankly seen the Western pulps better represented in the last ten years in terms of recognition than the fifty or so before that, and even today it is only a handful of writers and reprint publishers who are keeping the genre in the public eye to any extent.
More books have been published about the Western pulps in the last decade than the entire period before it even though the other genre’s were getting recognition as early as the late thirties in some cases.
I do think that like SF the Western was hurt by the nature of most of the film interpretations of it that were aimed at younger audiences and mostly juvenile in nature. While there were adult Westerns even dating back to the silent era, they were a small percentage of the films produced with a Western setting.
It’s not really until the era of the paperback original when L’Amour started to break out that the genre began to break away from the image of juvenile male fantasy despite serious writers in the genre like Clark.
There is a good argument to be made that the success of Zane Grey and Max Brand and to a lesser extent B. M. Bower branded the Western as largely juvenile in nature just as SF was both saved and forever relegated to the juvenile by the success of Edgar Rice Burroughs and E.E. Smith. Luckily for SF there was always Wells, Stapledon, and a handful of serious writers writing at the same time. But the Western’s great writers, the serious ones like Harte, Stephen Crane, Wister,and Rhodes were largely finished before the genre was swamped by writers like Grey, Brand, Hendrix, Gregory, Raine, MacDonald, and White writing ‘wholesome’ adventure tales that whatever their literary merit were largely juvenile adventure tales in nature.
November 19th, 2018 at 11:28 pm
Ouch. Writers like Grey, Brand, Hendrix, Gregory, Raine, MacDonald, and White are some of my favorite authors.
And they have been since I was 14.
November 19th, 2018 at 11:03 pm
Hello! I seen where you had mentioned my uncle Lester Belcher and one of his paintings. Is it still for sale? I’d love to be able to get one of his cover paintings he did. Thanks, Austin.
November 20th, 2018 at 8:32 am
While the paperback Western is a shadow of what it once was, it still exists. Kensington publishes 40 to 50 originals per year, as well as some reprints. Many of them make the USA TODAY and PUBLISHERS WEEKLY bestseller lists, outselling some pretty big names. You don’t hear much about them, but they’re out there.
I’d take issue with Tuska’s claim about Newton’s obscurity being due to his pseudonyms. Is Newton any more obscure than, say, T.T. Flynn, who always wrote under his own name? All the Western pulpsters who have been reprinted by Five Star, Leisure, etc., in the past 20 years are at about the same level of name recognition, I’d say. And the ones who weren’t part of that closed shop are still almost totally forgotten.
November 20th, 2018 at 2:14 pm
James
You’re quite right about Kensington/Pinnacle still doing westerns in paperback. The genre isn’t quite dead yet!
In terms of name recognition today, neither Newton or T. T. Flynn have any. I think Tuska’s conjecture holds up more back in the 60s, when Newton was writing several westerns a year and still nobody knew who he was.
In terms of western writers today whom the general public knows, I’d say the top two are Louis L’Amour and William W. Johnstone. After that maybe Zane Grey and Max Brand, though I don’t think anyone reads either of these last two any more.