MANHANDLED. Paramount Pictures, 1949. Dorothy Lamour, Sterling Hayden, Dan Duryea, Irene Hervey, Phillip Reed, Harold Vermilyea, Alan Napier, Art Smith, Irving Bacon. Screenplay by Lewis R. Foster & Whitman Chambers, based on the story “The Man Who Stole a Dream,” by L. S. Goldsmith. Director: Lewis R. Foster.

   There are some positive aspects to this film, including an absolutely bravura performance by Dan Duryea, but sad to say, there aren’t enough of them for me to give you more than a very tepid recommendation that you see it, if you haven’t done so already. And that’s especially true if, attracted by either the title or the names of those in the cast, you’re expecting a solidly built film noir.

   And a solidly built film noir is not what this is. Maybe the first ten minutes, in which we see a husband, obviously impatiently waiting for his wife to come home with her current boy friend or so he assumes, followed by an argument which culminated with in crashing a perfume bottle down on her head, killing her instantly.

   It’s a chilling scene that’s beautifully photographed. It’s too bad, then, that it was all a dream, as the husband is next seen telling his psychiatrist all about it. The dream, that is. The doctor tries o alleviate the husband’s fears, but he also seems inordinately interested the wife’s jewelry, which are said to be worth something $100,000.

   Which is a lot of money, then or now, and when the wife is subsequently found murdered, in identical fashion to the husband’s dream, of course the jewelry is missing. At which point the film shifts into its real reason for existing: a fairly ordinary murder mystery. Did the husband really do it, or if not, who else knew about the dream and jewelry? The doctor, of course, or perhaps the PI (Dan Duryea) who lives in the apartment immediately below the doctor’s secretary (Dorothy Lamour).

   I have not yet mentioned Sterling Hayden, who plays the insurance investigator assigned to the case, and whose eye is quick to notice that the secretary is an extremely attractive woman. You’d also think he’d be more involved with solving the case as well, but in spite of many opportunity to do so, the story goes off in another direction altogether.

   No, it’s Dan Duryea’s performance that carries the story, no doubt about it. He always played smooth but ultimately sleazy operators to the hilt, but in Manhandled he turns his trademarked unctuousness up a notch, or maybe three. A greater cad in all regards, you cannot imagine.

   The movie does get a little rougher — especially in the final fifteen minutes — but after the one additional twist I thought was coming never materialized, I was so non-interested as not to care. This one could have been a lot better than it actually turned out.

PS. The orecurring attempts to add some humor, especially the police car with no brakes, were truly lame, indeed.

ROBIN HATHAWAY “Does Thee Murder?” Short story. Dr. Andrew Fenimore. Short story. Published in Ellery Queen Mystery Magazine, March/April 2013.

   Of the four Dr. Fenimore detective stories that are so indicated in the online Crime Fiction Index, this is number four. Between 1998 and 2006 author Robin Hathaway also wrote five full-length novels with Dr. Fenimore, none of which I’ve read.

   This may have been a serious error on my part. I thought they were cozies, but on the basis of this particular story, at least, Dr. Fenimore is actually a very good amateur detective, and the mystery he tackles in “Does Thee Kill?” is a serious one.

   In this tale an elderly woman, a devout Quaker, is attacked and killed while taking a walk near her isolated old mansion of a home, which has become isolated in a small neighborhood of Philadelphia that has been going downhill for several years. The police think it’s nothing more than a random mugging, but Dr. Fenimore wonders about it and decides to make some inquiries. If the police are wrong, he’d like to do something about it.

   Besides following his investigation closely, the story includes a intimate description of what a Quaker funeral is like. Set in austere surroundings, the people congregated together there sit in silence until someone feels the urge to stand up and say something heartfelt about the deceased.

   All of the characters are real people, and Fenimore’s detective work is solidly done. Of special note, the ending is most satisfactory. Other authors may have taken another page or so to include a complete explanation. It pleases me to say that Robin Hathaway did not believe she needed to, and she was right.

THE AVENGER. WHN transcribed services. July 18, 1941 – November 3, 1942. Cast: Unknown except for Humphrey Davis as Mac. Written, directed and produced by Maurice Joachim. Other writers, directors and producers unknown. Some episodes based on stories in THE AVENGER pulp magazine by Kenneth Robeson (Paul Ernst); plots by Henry Ralston.

THE AVENGER. Syndicated, Charles Michelson syndication. October 25, 1945. Cast: James Monks as Jim Brandon (Dick Janiver may have also performed the role) and Helen Adamson as Fern Collier. Writers: Gil and Ruth Braun. Produced by Charles Michelson- Walter B. Gibson involvement uncertain.

   As with much of entertainment history, there are conflicting alleged facts when one examines old-time radio and The Avenger is no exception. Let’s start with a couple of important sources of confusion. The WHN version is based on the Street & Smith’s pulp hero and the 1945 version has a different character and premise, created by Gil and Ruth Braun. Walter B. Gibson (THE SHADOW) was involved in the creation of the Street & Smith pulp character and while he was involved in some way with the 1945 AVENGER, there is some doubt he wrote any of the episodes.

   If you have any questions about S&S THE AVENGER, the place to start looking is Howard Hopkins’ GRAY NEMESIS (2008).

   In 1939 Street & Smith was searching for a new hero to follow the success of The Shadow and Doc Savage. Business Manger Henry W. Ralston, editor John L. Nanovic with writers Walter B. Gibson (THE SHADOW) and Lester Dent (DOC SAVAGE) created The Avenger. Paul Ernst was asked to write the series. He turned it down.

   Howard Hopkins (GRAY NEMESIS) wrote Ernst took the job after “Nanovic gave him the cash, the idea, and the plots.” The cash was $750 a book. Ralston, Nanovic, Gibson and Dent supplied the idea, but who did the plots for the pulp?

   In ON THE AIR – ENCYCLOPEDIA OF OLD-TIME RADIO John Denning claimed Henry Ralston supplied plots for the radio series. Could Ralston have done it for the pulp version too?

   Using the house name of Kenneth Robeson, Paul Ernst would write the first twenty-four pulp magazine adventures.

   The S&S The Avenger was millionaire adventurer Richard Henry Benson. After he lost his wife and daughter to criminals, Benson became The Avenger and devoted his life to fighting evildoers everywhere.

   The Avenger led a group of crime fighters called Justice Inc.: Algernon Heathcote “Smitty” Smith electronic genius, Fergus “Mac” MacMurdie chemist, Nellie Gray young blonde martial arts expert, married black couple and college graduates Josh and Rosabel Newton and later on Cole Wilson engineer and sort of a Benson copy. Reportedly Josh, Rosabel and Cole never appeared in the radio series.

   THE AVENGER magazine lasted from September 1939 until September 1942. There were five short stories in CLUES DETECTIVE (1942-43) and a novelette in THE SHADOW (August 1, 1944); all six written by Emile Tepperman.

   According to “Billboard” magazine (June 19, 1943) publisher Street & Smith was looking for a way to keep its titles alive as print sales fell and radio listener numbers rose. Street & Smith would provide scripts to a radio station for free. The station would produce the show paying royalties only if the series was sponsored. Various S & S titles turned to radio including Doc Savage (WMCA – New York) and The Avenger (WHN – New York). The 1943 article stated, “…deals currently working are airing of DOC SAVAGE, weekly half-hour on WMCA; THE AVENGER, being showcased on WHN…”

   According to the “NY Times” radio logs (source: J.J. Newspaper Radio logs) the series aired on Tuesday at 9:30 pm or Tuesday at 9 pm beginning July 18 1941 and the last episode I can find in the logs was November 3, 1942

   According to “Broadcasting” (September 22, 1941) WHN had chosen THE AVENGER as their first series to syndicate. The WHN version of THE AVENGER was a transcribed series airing live on Tuesday (it aired at 9:30-10 and moved to 9-9:30pm December 9 1941).

   One of the chapters in GRAY NEMESIS deals with the radio series. “Broadcasting Benson” by Doug Ellis (1988) helps answer many of the questions about the radio series, but needs some updating. Among his sources were the “New York Times” radio logs and the few remaining scripts.

   Ellis noted the series was syndicated and appeared on other stations but makes no mention of what stations. After reading the “New York Times” radio logs, Ellis noted the series lasted sixty-two weeks but there were only twenty-six stories produced, and reruns and station pre-emptions filled the rest of the run.

   However the series may have lasted longer. The twenty-sixth episode aired January 6. 1942, Yet In “Billboard’ (May 16 1942) columnist Jerry Lesser wrote he was replacing Wendell Holmes on THE AVENGER, but he offered no clue what part he would play. “Variety” (September 16, 1942) reported Bill Zucker joined the cast of THE AVENGER. Both were hired after the twenty-sixth and alleged last original episode reportedly aired.

   Little is known about the cast. John Dunning’s ON AIR claimed an unknown New York actor played The Avenger and the only known cast member was Humphrey Davis who played Mac. Maurice Joachim who wrote, directed and produced at least four of the episodes was also a successful radio actor and could have been part of the cast.

   From the surviving scripts we know some of the episodes adapted Paul Ernst’s stories but the series also had original stories. The titles of the seven surviving scripts are TEAR DROP TANK (an original story for radio), THE HATE MASTER, RIVER OF ICE, THREE GOLD CROWNS, BLOOD RING, THE DEVIL’S HORNS, and THE AVENGER (YELLOW HOARD). The scripts are reprinted in Doug Ellis’ PULP VAULT issues 1-5.

   October 2001 at the Friends of Old-Time Radio Convention a group of fans called Radio Active Players recreated the lost radio show’s episode based on Paul Ernst’s YELLOW HOARD from the script called THE AVENGER. The Players were Tom Powers, Richard McConville, Carol Smith, Marc Yelverton and Rich Harvey. The production can be heard on YouTube and is better than one would expect and recommended.

   YELLOW HOARD was the pulp series’ second story. It would introduce Nellie Gray to Justice Inc. The team in the pulp at that time included Benson The Avenger, Smitty and Mac. The radio version had Nellie as an established member of Justice Inc with Benson, Smitty and Mac.

THE AVENGER (September 9, 1941)

   Nellie Gray’s father Professor Gray had led a group of men in an archaeological dig in Mexico where they had discovered a group of clay bricks with mysterious writing. The men divide up the bricks and return to United States with hopes of solving the mystery of the writing on the bricks.

   Someone using strange peanut shaped explosives began to kill for the Mexican bricks. Justice Inc would solve the mystery of the bricks and bring the bad guys to justice.

   YELLOW HOARD is a pulp thriller at its best. Pages filled with non-stop action, violence, danger, death, and endless twists and too much to fit in a half hour weekly radio series.

   Changes were made from minor points such as the pulp’s Aztec treasure was turned into a Mayan treasure in the radio versions to Nellie being arrested for her father’s murder being dropped from the radio story. Maurice Joachim’s script may have lost much of the pulp’s atmosphere but it got close enough to make the radio version entertaining.

   However I wonder if the stories would have worked better as a radio serial such as CAPTAIN MIDNIGHT, FLASH GORDON, SUPERMAN and TARZAN.

   Today many questions remain unanswered or the answer doubted. How many episodes were there? Who was in the cast? Who wrote the series? Did S&S ever publish the radio’s original stories? If there were more than twenty-six episodes could any of those episodes had featured Josh, Rosabel, or Cole? If it was syndicated could a copy still survive?

   In 1945 Street & Smith’s AVENGER was gone except for maybe an appearance in THE SHADOW comic book. A new syndicated radio series aired featuring a new and different character that would steal THE AVENGER name and THE SHADOW premise.

   â€œBroadcasting” (October 25, 1945) reported Charles Michelson Inc NYC who distributed THE SHADOW planned to add a new series called THE AVENGER. According to “Broadcasting” there were fifty-two episodes of the thirty-minute open-end transcribed series available to stations for local sponsors. (Today many believe only 26 were made and all survive.)

   â€œBillboard” (October 12, 1946) mentioned Gil and Ruth Braun had sold the idea for the radio series THE AVENGER after Gil had gotten out of the Army. No mention of The Shadow’s pulp writer Walter B. Gibson.

   According to RADIO DRAMA AND COMEDY WRITERS 1928-1962 by Ryan Ellett (McFarland & Co.) Gil and Ruth Braun wrote all the episodes. Today it is commonly believed Walter B. Gibson also wrote for the series. According to Ellett, Gibson did not write for the series, but he was involved in some unknown way.

   My guess is Gibson may have provided some of the plots. Some of the plots were worthy of THE SHADOW, but the stories and writing lacked Gibson’s style. Magician Gibson was too fond of magic to write scripts that explained magic away with science.

   The Avenger was biochemist Jim Brandon. Brandon had invented a telepathic indicator that allowed him to catch flashes of other people’s thoughts and a secret diffusion capsule that when broken allowed him to be invisible with the power of black light. Aided by his version of Margot Lane the beautiful assistant Fern Collier, the two fought crime, and annoyed whatever police detective was in charge (usually the hot-tempered and stupid Inspector White).

   The plots ranged from standard murder mysteries to weird science fiction. The series is almost a direct copy of THE SHADOW but changed the one thing that made THE SHADOW a success. Instead of a mysterious hero with magic powers learned in the mystical Orient like The Shadow, Jim Brandon was a dull scientist who explained it all with science, sucking all the fun and atmosphere from the stories.

HIGH TIDE MURDER (October 25, 1945)

   The premiere episode starts out slow with Jim and Fern burdened with too much exposition. Inspector White can’t solve the murders of jewelry salesmen until Jim and Fern join in and THE AVENGER goes to work.

   The music by Doc Whipple at beginning and end was a placeholder available for stations to add local commercials.

   The production was average with decent acting. The writing was its weakness. The series often talked down to the audience with the characters often over-explaining what happened and why.

THE MYSTERY OF THE GIANT BRAIN. (November 1, 1945)

https://www.youtube.com/watch?v=kcS6LjYDYhU&t

   An over-the-top evil mad scientist is searching for human brains to build his army of robots. Fern has fallen into the villain’s clutches and only The Avenger can save her.

   Golly gee whiz even the kids in the audience laughed at how bad this episode was.

THE CRYPT OF THOTH. (December 13, 1945)

https://www.youtube.com/watch?v=w_x3SZM42xE

   A great example of what could have been a spooky mystical mystery turned into a dull procedural. A scientist is killed inside the Crypt of Thoth. Is he a victim of the Ancient Egyptian God of Death? Maybe if this was an episode of THE SHADOW but we are stuck with THE AVENGER who explains in boring detail how it was done.

   Today there are twenty-six surviving episodes of Jim Brandon The Avenger. Few except OTR fans remember him and many of them mix him up with the pulp hero.

   Meanwhile Richard Henry Benson remains alive today. Much of his survival is due to the 1973-74 Warner Brothers Paperback Library reprints of Ernst’s twenty-four THE AVENGER stories. With the series success in paperback the publisher turned to Ron Goulart to write twelve more adventures.

   The character has appeared in comic books, from THE SHADOW comic in the 1940s to DC comics off and on since the late 1980s.

   Today publisher Moonstone has kept the character alive in comic books, short story collections and novels. More are on their way.

   Paul Ernst’s version of THE AVENGER remains my favorite of all pulp series. Few pulps share modern day approved social views while maintaining the pulp’s sense of adventure and justice.

ART BOURGEAU – A Lonely Way to Die. Claude “Snake” Kirlin & F. T. Zevich #1. Charter, paperback original, 1980.

   If the setting is even minimally important to you when it comes to choosing what work of detective fiction to read next, there are of course hundreds of options available to you. Los Angeles and the Big Apple don’t have a universal monopoly on locations to choose from. It may just seem that way.

   Take Cannibal Springs, Tennessee, for instance. It’s located about halfway between Nashville and Chattanooga. I didn’t look it up on the map, but even if there is such a place, I’m not no sure that anyone has bothered to tell Rand McNally about it.

   Snake Kirlin and F. T. Zevich area couple of good ole boys, just out of the Marines and back in Snake’s hometown, looking for fishing holes and other fine memories of his youth.

   An alternative title for this book might have been The Hardy Boys Get Laid.

   The jokes are crude, pointed, funny, and old. According to F. T., as the two heroes prepare to investigate the death of the hairdresser’s assistant by rattleless rattlesnake poisoning, “When you eliminate all the shit, whatever you’re left with has got to be it.”

   All devout Sherlock Holmesians, please take note.

   My mistake, and don’t let it be yours, was in thinking that this was a detective story. Wrong. The clues lead nowhere, the deductions are a waste of time, and the pistons don’t work either. It sure was fun to read, though, and I’ll probably read their next adventure, if the fates be so kind, but even tied up in a gunny sack with a a typewriter in a dark room, I don’t think there’s one of us who couldn’t come up with a better job of working out a real mystery to go with all the good buddy fooferaw.

       The Claude “Snake” Kirlin & F. T. Zevich series —

A Lonely Way to Die. Charter 1980
The Most Likely Suspects. Charter 1981
The Elvis Murders. Charter 1985
Murder at the Cheatin’ Heart Motel. Charter 1985

DRAGNET “The Big Lift.” NBC, 22 September 1955 (Season 5 Episode 4). Jack Webb (Sgt. Joe Friday), Ben Alexander (Officer Frank Smith), Dan Barton, Marian Richman, Kurt Martell, Alan Harris. Opening narration: George Fenneman; closing narration: Hal Gibney. Screenplay: John Robinson. Producer-director: Jack Webb.

   All of the famous hallmarks of the series were well-established by the time this episode was televised, early in the fourth season: the opening theme (!), the voiceover narration introducing the program (“The story you are about to hear is true. Only the names have been changed to protect the innocent.”), the terse almost clipped dialogue throughout the story itself, and the closing remarks (“In a moment, the results of that trial.”). All of these elements were probably there from the very first episode, back on December 14, 1951, since the series had been transferred lock stock and barrel from a highly successful radio series: Dragnet on the radio had begun earlier in 1949, running to 1955, with reruns broadcast for two more years.

   I’ve not watched many of the early episodes since the the first series was on the air, so I’m not sure how common one aspect of this one was: Comic interludes! Examples: Friday and Smith are working out of Burglary and are extremely frustrated in coming up any kind of clues for a series of 17 recent break-ins. Joe Friday and his partner are sitting in a diner trying to order breakfast while being ragged by the guy on the other side of the counter (not knowing they are cops) about how the burglar is running circles around the entire police force.

   The wife of a recently robbed couple, when asked if she’d seen anyone suspicious hanging around before the theft, goes into a quiet mini-rant about how housewives are far too busy to take notice of such things. When another good citizen reports seeing a strange car cruising back and forth in front of his house, he also provides Friday and Smith with a license plate number. Turns out the car was a police car.

   One thing I missed in this episode is seeing the faces of actors I knew only from their voices I’d heard on the radio. The cast in this one is very good, but I recognized neither their names nor their faces.

   One last thought. Not only the cast was good, but also the direction and the overall production. I wonder how much time was spent in rehearsal to get everything running so smoothly and the dialogue in sync.

A traditional Irish song which means (as I understand it) “Ladies of Ireland.” The guitarist accompanying Sharon Corr is very good too.

STRANGLER OF THE SWAMP. PRC, 1946. Rosemary La Planche, Robert Barrat, Blake Edwards, and Charles Middleton. Written & directed by Frank Wisbar

FÄHRMANN MARIA. Pallas Film, Germany, 1936. Title translates to “Ferryman Maria.” Sybille Schmitz, Aribert Mog, Peter Voß, and Carl de Vogt. Written & directed by Frank Wysbar.

   The last German expressionist film before the Nazis took over, remade as a fitfully memorable little ghost story from the cheapest studio in Hollywood.

   To start with the remake, Charles “Ming” Middleton plays the ghost of ferryman Douglas, who was hanged on perjured testimony sometime before the film started. This, along with most of the rest of the plot, is conveyed in dull but cost-saving dialogue by cast members sitting in a studio mockup of a ferryboat being pulled in front of an obvious backdrop by Douglas’ successor, who scoffs dramatically when they conveniently remind him of Douglas’ dying promise to return and kill his persecutors and their descendants.

   Having brought the audience up to speed (if that word can be applied to this film) the B-movie Greek Chorus departs leaving the new ferryman to be confronted by Charles Middleton in fuzzy double exposure and swiftly dispatched.

   The dead ferryman’s replacement is his daughter-just-back-from-school Maria (Rosemary La Planche) whom the village elders tactfully or prudently refrain from telling about the local onus. When she forms an attachment for a Nice Young Man also under the curse (young Blake Edwards, no less) Middleton starts rattling his chains and the fight is on as Rosemary tries to put the ghost to rest and save the man she loves.

   Strangler in the Swamp is never very good, but it is at least consistently interesting. The studio-built swamp has a fine Gothic look to it, and the simple plot works rather nicely against this primitive backdrop. There’s also a well-judged (and incredibly cheap) scene where Rosemary runs through the town hounded by the ghost, and as she approaches each house, doors close in her face and lights go out.

   But the origin of Strangler is no less interesting than the film itself; it’s a loose remake of Fährmann Maria (1936) which Wisbar made in Germany just before coming to America. And the differences between the two films drop some interesting clues as to why Wisbar had to leave the country.

   In Fährmann, it’s not a vengeful ghost, but Death himself who preys on the little country village and kills its ferryman. Maria (Sybil Schmitz, a sensuous actress who also starred in Dreyer’s Vampyre) is a woman — possibly of questionable background, my German isn’t that good — who wanders into town looking for work and is hired to replace the ferryman by the kindly local Burgermeister. She quickly falls for a handsome young local, who falls back, but it seems he has a prior commitment with Death. And, as in the remake, Maria has to save him by herself.

   Standard Death-and-the-Maiden stuff so far, albeit photographed quite nicely on real locations, as opposed to Strangler’s set-bound atmospherics. But the kicker comes in Wisbar’s canny personification of Death.

   Death first appears as an elderly, lantern-jawed man in a priest’s cassock. But as the film progresses, this outfit subtly changes from scene to scene: death now wears a tunic with a high collar; then we notice flat epaulets and nipped-in waist; finally, the pants look more like riding breeches with jack boots.

   Any resemblance between Death’s eventual look and the fashion statement espoused by certain political groups sweeping to popularity in Germany in 1935 is understated, but there to be seen, particularly as Death is assisted in one scene by identically dressed men on white chargers, accompanied by military music. There’s even a telling moment when Death comes to the Village to take Maria. The villagers start to rally in outrage at losing their ferryman, but are ultimately cowed into submission.

   Obviously, a film like this wasn’t going to score a lot of points with the Powers that Were in the Reich, so Wisbar found it prudent to head west, where he found gainful employment at El Cheapo (pardon me, PRC) Studios till war’s end. Others here have noted his eventual success in Television, but his bottom-scrapers at PRC always seemed to me to have a haunting beauty sadly overlooked by film historians. Strangler in the Swamp has been called “PRC’s finest hour” but it’s actually just the most obvious example of the care and artistry Wisbar brought with him as a refugee to these shores.

LAURIE POWERS – Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine. McFarland, paperback, September 2019.

   Have you ever received a book in the mail and immediately stopped what you were reading, stopped whatever you were doing and sat down and read the book? This is what happened when I received Queen of the Pulps. I had seen Laurie Powers work and do research on it for several years and finally here it is! She must of gotten sick and tired of me nagging her about the book and asking for progress reports.

   This book breaks new ground and stresses original research on the love and romance magazines. Recently there have been some excellent books about the pulps such as John Campbell and Astounding Science Fiction, Joseph Shaw and Black Mask (forthcoming from Altus Press/Steeger Books this November), and in a few months, Michelle Nolan’s book on the sport pulps. Many collectors have been saying that we live in the Golden Age of Pulp Reprints, well it looks like there is a Golden Age of Pulp Studies also.

   It’s exciting to realize that these books are not just run of the mill academic studies. They cover three of the greatest pulp editors: John Campbell, the greatest of the SF editors in the forties, Joseph Shaw, the greatest of the hard boiled detective pulp editors, and Daisy Bacon, the greatest of the love and romance pulp editors. Now all we need are books on Arthur Sullivant Hoffman, the greatest of the adventure pulp editors and Farnsworth Wright, the greatest editor of the fantastic and supernatural pulps.

   The book is a real beauty and very impressive looking. Laurie spared no expense and gathered over 80 photographs which are reproduced on high quality book paper and thus show up very well. She also has five color photos of Love Story covers. I like the way the photos are spread throughout the book and not just squeezed in a few pages. In the back of the book are around 300 chapter notes and footnotes documenting the facts, also an extensive bibliography and index. It is very obvious that this is a labor of love for Laurie and the excellent final results make all her hard work worth it.

   But in addition to the above, there is another reason why I love this book. Starting in 1972 I attended the yearly Pulpcon conventions where just about all the conversations centered around the hero pulps. Titles like The Shadow, Doc Savage, G-8 and His Battle Aces, Operator 5, etc. There also was some interest in science fiction and many of the old timers(all these great old pals now gone), loved Max Brand and Edgar Rice Burroughs.

   You might think this must have been a great time but for me, it was not. Though I ended up collecting just about all the hero pulps, I hated them with a passion. I know many of my collector friends will gasp in horror at such sacrilege, but I couldn’t stand the heroes and every attempt to read them defeated me because of the childish plots and dialog. At least with a love pulp you are dealing with a subject that makes the world go round. Love! But I positively disliked the silly Monk and Ham characters in Doc Savage and Bull and Nippy in G-8.

   So, in the early days of pulp fandom there was very little interest in other genres like detective, western, adventure, and sport fiction. And certainly there was absolutely no interest in collecting the love and romance pulps. Sure there were a couple lost souls like me, Digges La Touche, and even Steve Lewis. We picked up issues here and there over the years and now I guess I have a couple hundred Love Story issues without even trying.

   However, as the years and decades marched on, things began to change and collectors started to collect the other genres, the pulps that adults read and not just the hero pulps which were aimed at the teen-age boy market. I even did an informal survey in the seventies and eighties where I asked many non-collectors if they remembered the pulps. Many of the women remembered the love and general interest pulps and many of the men remembered and read Black Mask, Argosy, Adventure, Western Story, etc. When I directly asked them about the hero titles, the usual response was did I mean the “kid pulps”, or as one of my old time friends said “the magazines with the unreadable crap” (Harry–Damn it you said you would get back to me about the afterlife!).

   Now finally we have a book that back in the 1970’s I never thought would be published. It is not about the hero pulps, rehashing old tired comments but about one of the most successful editors, Daisy Bacon. For 20 years, 1928–1947, she edited Love Story which had the highest circulation of all the pulps, estimated to reach 600,000 per issue.

   Queen of the Pulps is not only about Daisy Bacon and Love Story, but also about editing in general at Street & Smith. Daisy edited seven other titles in addition to Love Story and though the main thrust of this book is about that magazine, Laurie Powers also discusses Daisy’s time editing Detective Story for most of the decade in the forties. She also covers her time as editor of the final issues of The Shadow and Doc Savage.

   It sounds like she enjoyed the change of pace from love to murder. For 25 years Detective Story had published a sort of bland and sedate detective story, just about ignoring the hard boiled style sweeping through the other quality detective titles like Black Mask, Dime Detective, and Detective Fiction Weekly. During this period, 1915–1940, the magazine avoided the tough, hard boiled fiction except for an occasional story from Carroll John Daly, Erle Stanley Gardner, and Cornell Woolrich, etc.

   But when Daisy Bacon took over as editor in 1941, Detective Story took on new life and she encouraged many of the writers from Black Mask and Dime Detective to write for Detective Story. Raymond Chandler, Dale Clark, T.T. Flynn, G.T. Fleming-Roberts, Julius Long, D.L. Champion, Norbert Davis, John K. Butler, Day Keene, John D. MacDonald, and others all appeared once or twice.

   It’s obvious she wanted to make the stories tougher, and she got Carroll John Daly to write six novelets, Fred Brown to write nine shorts, William Campbell Gault to appear 14 times, and her best author during the forties, Roger Torrey. Torrey had 13 novelets, all starring Irish private eyes, and these stories are worth looking up because they represent his very best work. Torrey unfortunate had a severe drinking problem and drank himself to death around 1945. I read about his death in one of his short story collections and it’s a real sad story.

   Daisy Bacon’s reward for all this? She was fired in 1949 during the bloodiest day in pulp history as Street & Smith killed off all its pulp titles (the one exception for some reason being Astounding). Western Story, over 1250 issues—Gone! Detective Story, over a thousand issues–Gone! It seems that the president of Street & Smith hated the pulps and saw the future as slick women’s magazines. These slicks are so dated and worthless that just about no one collects them nowadays. But the Breakers love them because they cut out the slick ads and sell them to housewives and men to frame them in their basement bars or kitchens.

    What is this guy’s name? Allen Grammer, who was hired by the family to run Street & Smith, the first such outsider in almost a hundred years of publishing. When he came on board in 1938, he had no interest in the pulps and almost from the very beginning worked to get them out of circulation. Needless to say, he and Daisy did not get along and he got rid of her along with the pulp titles.

   On a more personal note, I became involved with the Grammer family. What’s the odds of a non-collector having two pulp cover paintings and moving right next door to a collector with a house full of pulp art? A billion to one? Will it happened to me. In the mid-1990’s an elderly retired music teacher moved next door and had an open house for the neighbors to get acquainted. As my wife and I walked through his house we were stunned to see two original cover paintings from Western Story hanging on the wall of the den.

   They both were from 1938 and painted by Walter Haskell Hinton. I immediately cornered my host and discovered that his name was Paul Grammer and he was the nephew of Allen Grammer. It seemed his uncle was the head executive at Street & Smith back decades ago and Paul Grammer’s father also had a high position. Eventually when Allen Grammer died, Paul inherited the pulp cover paintings. Several years later Paul gave in to my pleas and sold me the two paintings. Every time I look at the one I still have, I think of Paul and wish he still lived next door.

   Over the years I had several conversations with Paul about his infamous uncle and I sure wish Paul was still alive because I have even more questions now that this Daisy Bacon book is out. Paul once showed me a photograph of Allen Grammer sitting behind his desk at the Street & Smith offices. Behind him was a large pulp painting by N.C. Wyeth. I commented that the painting was now worth a million dollars and Paul said one day his uncle went into the office and the painting was gone. Someone had walked out with it. I wish I had talked Paul Grammer into letting me have the photo because I see that Laurie does not have one of Allen Grammer in the book. I suspect Laurie sympathized with Daisy and also dislikes him. Thus no photo! (Or maybe she could not get the rights to publish a photo.)

   So, for several years I watched Laurie got deeper and deeper into the life of Daisy Bacon. More than once Laurie traveled from California to New York and New Jersey. She discovered the old records, photographs, diaries, and various papers that Daisy had kept all her long life. On one trip she even discovered the love nest built by Daisy’s long time lover in the woods of New Jersey. Laurie even came across and now owns, the one painting that Daisy kept by Modest Stein. By the way, love pulp cover paintings are rare. I’ve only found two: one for Love Book and one for All Story Love.

   The book is full of fascinating details and stories about Daisy, her half sister, Esther Ford, her mother, and her lover. Laurie has told a suspenseful story worthy of being published in Love Story magazine. Of course the part about the secret lover would have to edited out of the story. It has all the pulp story ingredients: love, attempted suicide, secret lives, success, depression, and failure.

   If you read the pulps, buy the pulp reprints, or collect the old magazines, this book is a must buy. Price is $40 but it’s worth the cost. This gets my highest recommendation and can be bought on amazon.com or the McFarland Books website. If you attend Pulpadventurecon in Bordentown, NJ on November 2, 2019 Laurie will have copies for sale.

JOHN C. BOLAND “Marley’s Ghost.” Short story. Charles Marley #1. Published in Alfred Hitchcock Mystery Magazine, January/February 2005. Not yet reprinted or collected.

   For someone who qualifies, I believe, as a Little Known Writer, John C. Boland certainly has been a very prolific one. He has, first of all, several dozen short stories in AHMM as well as EQMM, not only under his own name but also as by Max Gersh and James L. Ross. This plus more than a dozen full-length novels, beginning in 1991, some of them once again as by James L. Ross. (I do not know if he is related the thriller writer John Boland, who wote several dozen novels back between 1955 and 1970.)

   As for Charles Marley, who adventure “Marley’s Ghost” is his first recorded adventure, he is a retired CIA agent who seemingly can’t stay away from people he knows from his past. This includes Oleg Ossovsky, his counterpart in espionage back in the days of the old Soviet Union. The latter is now in New York and working on his memoirs, although Marley assumes he very well may have other irons in his fire.

   What’s really on Oleg’s mind now, however, is a fellow named Vlad Davidovich, whom he keeps bumping into, and whom Marley also remembers as a Russian pianist he was trying at one time to help defect. That the task did not work out was due to Oleg’s intervention, let us say.

   The tale that follows is a tough, complicated one, filled with the moody atmosphere of the Cold War, even at this late date. Besides the fact that he comes out on top in this debut story, sort of, we don’t learn a lot about Marley himself — he’s still somewhat of an enigma — but perhaps that changes over the course of the next eight stories, so far. Summing things up, though, a complete collection is in order, that’s what I say.

       The Charles Marley series —

Marley’s Ghost (ss) Alfred Hitchcock’s Mystery Magazine Jan/Feb 2005
Marley’s Package (ss) Alfred Hitchcock’s Mystery Magazine Mar 2007
Marley’s Woman (ss) Alfred Hitchcock’s Mystery Magazine Sep 2007
Marley’s Havana (ss) Alfred Hitchcock’s Mystery Magazine Mar 2011
Marley’s Revolution (ss) Alfred Hitchcock’s Mystery Magazine Jun 2011 [2012 Edgar Nominee]
Marley’s Rescue (ss) Alfred Hitchcock’s Mystery Magazine Jul/Aug 2012
Marley’s Winter (ss) Alfred Hitchcock’s Mystery Magazine Nov 2012
Marley’s Lover (ss) Alfred Hitchcock’s Mystery Magazine Apr 2015
Marley’s Mistress (ss) Alfred Hitchcock’s Mystery Magazine Jul/Aug 2019

LOREN ESTLEMAN – Edsel. Detroit #4. Mysterious Press, hardcover, 1995; paperback, 1996.

   My main complaint about this is that it isn’t an Amos Walker book. I’m sure Estleman is making entirely too much money with the Detroit series to go back to writing about old Amos, but that doesn’t keep me from wishing he would.

   Connie Minor, the Greek newspaper columnist who was the narrator of the first Detroit book, Whiskey River, has fallen on hard times in the intervening years. The mid-fifties find him a newspaperman no more, reduced to working as an advertising copywriter. His fortunes take a turn (I didn’t say what kind) when one of Henry Ford II’s (“the Deuce”) executives offers him the job of selling America on the company’s proposed new car that will become known as the Edsel.

   He takes the job, only to find his life still isn’t simple. He finds himself embroiled once again with gangsters and politicians, and trying to find out who ordered the attempted assassination of Walter Reuther.

   I said in these pages a long time ago that whatever type fiction Estleman chose to write, one thing remained constant: he was a storyteller. He still is. Probably how interesting you find this story will depend on how interesting you find the fifties. I went from a sixth-grader to a firefighter, so I found it very interesting.

   Estleman tells it with sot of a newsreel perspective and a caustic, semi-flip wit that goes down well. I wouldn’t say that any of the characters rather than Minor really came to life. Edsel is a quick and entertaining read, though perhaps not quite up to the first three in the Detroit saga. And nowhere close to as good as an Amos Walker.