The news of mystery writer Arthur Lyons’s unexpected death appeared quickly on the mystery blogs today. First to report was Jiro Kimura’s The Gumshoe Site, followed up soon after by Jeff Pierce at The Rap Sheet, with a long and personal homage to Mr. Lyons. The latter died on March 21st of complications from pneumonia and a stroke; he was only 62.

   Arthur Lyons’s primary character, the one who appeared in all the novels he wrote on his alone and not as part of a twosome, was a LA-based private eye named Jacob Asch. Borrowing Kevin Burton Smith’s words:

    “JACOB ASCH was a glib, cynical, half-Jewish reporter for the L.A. Chronicle until he got sent to jail for refusing to reveal a source. He did six months on a contempt of court beef, and when he was sprung, the glamour of journalism, for some reason, had lost its appeal for him. So now he’s a glib, cynical, half-Jewish LA private dick who gets involved in some very nasty murders, instead.”

   From an interview that Jeff Pierce did with Arthur Lyons some time ago, here’s the author’s take on his character:

    “You’ll never find Asch doing anything unlikely. He will not usually find stuff through coincidence. He’s a plodder. That’s what private detection is, going through papers. All of Asch’s cases come out of paper. He works with paper more than he does people, whereas in Ross Macdonald and with most of those guys, they do it with information people tell them. But there aren’t too many people out there who are going to spill their guts to an investigator, unless the guy has a handle on what’s going on.”

    Here’s a complete list of Arthur Lyons’s work, at least in printed form. Taken and expanded upon from Crime Fiction IV, by Allen J. Hubin, I’ve been able to find covers from all but one of the Jacob Asch books. I apologize that it’s a mixture of hardcovers and paperbacks, nor have I made note of the various reprint editions in which his books have appeared.

LYONS, ARTHUR (Jr.) (1946-2008)

* The Dead Are Discreet (n.) Mason/Charter 1974 [Jacob Asch; Los Angeles, CA]

* All God’s Children (n.) Mason/Charter 1975 [Jacob Asch; Los Angeles, CA]

* The Killing Floor (n.) Mason/Charter 1976 [Jacob Asch; Los Angeles, CA]

* Dead Ringer (n.) Mason/Charter 1977 [Jacob Asch]

* Castles Burning (n.) Holt 1980 [Jacob Asch; Los Angeles, CA]

* Hard Trade (n.) Holt 1981 [Jacob Asch; Los Angeles, CA]

* At the Hands of Another (n.) Holt 1983 [Jacob Asch; California]

* Three with a Bullet (n.) Holt 1985 [Jacob Asch; Los Angeles, CA; Idaho]

* Fast Fade (n.) Mysterious Press 1987 [Jacob Asch; California]

* Unnatural Causes [with Thomas T. Noguchi, M.D.] (n.) Putnam 1988 [Los Angeles, CA; Dr. Eric Parker]

* Other People’s Money (n.) Mysterious Press 1989 [Jacob Asch; Los Angeles, CA]

* Physical Evidence [with Thomas T. Noguchi, M.D.] (n.) Putnam 1990 [Los Angeles, CA; Dr. Eric Parker]

* False Pretenses (n.) Mysterious Press 1994 [Jacob Asch; Los Angeles, CA]

Films:

       Slow Burn, based on Castles Burning. Starring Eric Roberts as Jacob Asch.

Non fiction:

       The Second Coming: Satanism in America (1970)
       Satan Wants You: The Cult of Devil Worship in America (1971)
       The Blue Sense: Psychic Detectives and Crime (1991) (with Marcello Truzzi)
       Death on the Cheap: The Lost B Movies of Film Noir (2000)

[UPDATE] 03-26-08. For an insightful essay by Jeff Pierce on both Lyons and Jacob Asch, may I suggest a return visit to The Rap Sheet. It was written in 1981 or thereabouts, but its age does not diminish the timeliness of this followup post in any way whatsoever.

    Any assistance toward answering any of these questions would be greatly appreciated. Leave a comment or reply to me directly, and I’ll pass the word along to those who are asking.

(1) From John Herrington in the UK:

    “I have been doing some research on the elusive Dorothy Feilding/A. Fielding and have discovered that papers relating to her are held in the collection of papers of UK literary agent A.P. Watt which are held in the library of the University of South Carolina.

    “I asked the library but they are not willing to look themselves!! A pity as there might be vital clues about her. They suggested using a professional searcher, but I don’t want to pay up front for possibly a zero result – plus paying anyone might be difficult as I do not use credit cards.

    “Don’t suppose you know anyone who might have access to the library who might be willing to have a look?”

(2) From Ken Johnson:

    “I believe I mentioned previously that I am working on an addition to my Digest Index which will index the contents of the anthologies and collections therein. I have everything I need except for two books that are eluding me. I am writing to you in the hope that you can help me with these, or network me to someone who can.

    “The hardest book to find is the Bonded Mystery edition of This Is Mr. Fortune by H. C. Bailey. The only documentation on this book is the listing in Kevin Hancer’s Price Guide. No library on the web has it and no one ever seems to be selling one.

    “The most frustrating book is the Bestseller Library edition of The Mysterious Mr. Quin by Agatha Christie. Several libraries on the World Catalog have it but my attempts to get information through inter-library loan have been frustrated by the response that the book apparently does not have a contents page. It would seem I need to convince a friendly librarian to actually look at it and jot down the contents for me. I am optimistic on this score by the discovery that one of the libraries that has a copy is Bowling Green University.

    “So, my first question is: do you know anyone, or can you network me to anyone, connected to Bowling Green University or their Popular Culture collection who might be willing to accommodate my request for info on the Christie book?

    “The second question is: would you be willing to mention my quest for the contents of these two books in one of your blog entries, in the hope of drawing the info out of some collector?

    “Any help you can provide would be greatly appreciated. The completed index will document several abridged mystery collections whose exact contents are not otherwise known and therefore will be potential annotations for the Addenda to Al Hubin’s Crime Fiction IV. I also be glad, after it is posted, to share with you my documentation for these collections.”

    That edition of the book by H. C. Bailey may not exist. My copy of Hancer’s guide isn’t handy at the moment, but a quick check reveals that Graham Holroyd does not include it in his. Neither fact, that it’s in one and not the other, is entirely convincing. It would be nice to know for sure.

(3) This question’s from me. As everyone reading this already knows, I’m sure, Phyllis Whitney died not too long ago at the age of 104. While doing some research in CFIV over the weekend, I came across the following entry:

EMERY, (Russell) GUY (1908- )
       Front for Murder (Macrae-Smith, 1947, hc) [San Francisco, CA] Boardman pb, 1948.

   I asked Al Hubin whether he had any updated information about Mr. Emery. His reply: “Probably Guy Emery is not still alive, but he’s not in ssdi under any combination of his name, and peoplefinders doesn’t turn up anyone born in 1908.”

   And that’s as far as I’ve gotten with this, except that it does give me a good chance to add a cover image that I’ve always thought was quite nice:

[UPDATE] 03-26-08. Results so far:

(1) One tentative offer to do the library research has been tendered so far, but if you live in that part of the country and are willing to do the required digging into some archives, please check to see if things have worked out as we hope they have.

(2) Ken has been in touch with a Popular Culture librarian at Bowling Green, and the titles of Mr. Quin stories are now known. As for the H. C. Bailey title, here’s what Dan Roberts has had to say:

Steve: Please pass this on to Ken Johnson or post it on your blog.

I can’t speak to the Christie Bestseller title, but no library or bookseller has the Bonded This is Mr. Fortune title because I’m virtually certain that it does not exist. Hancer is not the only reference that lists it — R. Reginald and M.R. Burgess also list it in Cumulative Paperback Index 1939-1959, Gale Research Co., Detroit 1973 page 9.

It is well-known that Reginald and Burgess (actually only Reginald — Burgess is a fictitious name) salted his compilation with a number of books that do not exist in order to nail plagiarists, and Hancer did indeed plagiarize and was successfully sued by Reginald. Since I’m familiar with the Bonded series (having once had them all and now having about 90% of them — some are digest size, others are pb size), I’m virtually certain the Fortune title is one of Reginald’s fake listings. H.C. Bailey’s The Twittering Bird Mystery (Bonded No. 8 ) does exist, however.

Hope this helps. Dan Roberts.

(3) Nothing yet on Guy Emery.

[UPDATE] 03-27-08. A reply from Ken Johnson, re the H. C. Bailey mystery:

Steve,

Actually I disagree. The intro to Reginald’s Cumulative Paperback Index mentions the check entries and states that none of them involve real authors, which is definitely the case for all the ones so far known. While Reginald lists both the Susan Wells ((Footsteps in the Air)) and the H. C. Bailey (which Hancer identifies as #s 15 and 16) he does not supply the book numbers, so Hancer could not have cribbed them from him. It is also my understanding that all of Reginald’s check entries were purged from Hancer’s later editions.

I looked again at my copy of Bonded Mystery #13. The inside back cover has an ad for both the Wells and Bailey books, with black and white drawings of the covers, stating that they will both be on sale next month. Since I cannot find any other confirmation of their existence, they were probably never issued. Hancer may very well have assigned them book numbers as a way of generating his own check entries, which he seems to have done a lot of after Reginald sued him for repeating his check entries.

I will have to update the entry in my Digest Index. If I hadn’t gone looking for the contents I might never have spotted this. Please thank Dan for his comments; I would appreciate any other comments he might have that would improve my index. I still have a lot to learn.

All my best,

Ken

NORMAN DANIELS – The Deadly Ride.

Lancer; paperback reprint, no date stated but stated elsewhere to be 1968. Original title: The Marshal of Winter Gap, as by Peter Grady (Avalon Books, hc, 1962); paperback reprint: Airmont Books, 1963.

   I’m not too sure of the date for the hardcover edition, which I found online in several places, since the copyright date given in this Lancer edition is 1963. A trifling matter, I suppose, and I guess it ought to bother me more than it does.

   Nor have I done much research into the western fiction that Norman Daniels wrote. I found two more he did as by Peter Grady, but his overall output – hundreds of books, mostly mysteries, but romances too, including gothics as by Dorothy Daniels – is too large for me to start sorting out which is which right now. Suffice it to say, I’m sure, Daniels could write anything that someone paid him to do, beginning in the era of the pulp magazines, and for the most part he made it come it out right and professionally done.

   This western at hand is a perfect example of that. It’s slight and in the beginning a not very promising story of a rancher who used to be a gunman, emphasis on the “used to be,” especially now that he has a nine-year-old son.

   But when his wife is killed by a stray bullet in the lawless town of Winter Gap, he’s sorely tempted to revert to his old ways, which doesn’t quite do. Prodded on, though, by the urging of Louise Amister, whose father was the last marshal the town ever had, what he does do is appoint himself town marshal, daring any of the rougher elements in town to tell him no.

   Characterization is slim – I’ve outlined about 80% of it already – but there’s just enough here, along with a surprise or two, and a semi-sappy, soapy sort of ending, to make for a couple of hours of reading and a story that’s surprisingly hard to put down.

CATCH ME A SPY – George Marton and Tibor Méray.

Popular Library; paperback reprint, no date stated, but stated elsewhere to be 1971. Hardcover edition: W. H. Allen, UK, hc, 1971; Harper & Row, US, hc,1969.

   I reviewed the movie based on this book way back in May of last year, then followed it up soon afterward with a short profile of the first of its two authors, George Marton.

   I mentioned then that it took me by surprise that the story was played for fun, so I wasn’t sure if the book was going to be a comedy as well. I played it cautiously as I read, waiting to see what would happen, and – I’ll tell you in a minute.

   Here’s a short recap of the story itself. A young and rather naive English girl named Jennifer, the niece of a famous chemist, is wooed and romanced by a chap named Fenton who sweeps her off her feet and takes her off to a honeymoon in – Bulgaria. Where on their wedding night, before their marriage is consummated, he is whisked off to a Moscow prison.

   Returning eventually – and disconsolately – to London, Jennifer decides on a plan: to find a spy on the other side operating in England whom she can capture and use in a swap to gain her husband back.

   So here is where the humor comes in. I did say that Jennifer is naive, didn’t I? So unsophisticated in the world that she does not even know that Hungary does not have a navy, much less a naval attache. Is there a chance in the world that such a charming young woman – played by Marlène Jobert in the movie – would have a chance in the world at completing such a mission? It is but to laugh, although gently.

   Whereas in the movie the comedy is much more physical, although again (if this makes sense) in a gentle way. The spy that Jennifer does meet – played by Kirk Douglas in the movie – also appears much earlier on in the film, a good choice that, as it gets the major players face to face quite a bit earlier.

   The endings are also not quite the same, but at least they were built on the same basic premise, which of course is one that I cannot reveal. At only 174 pages of medium-sized type, the book is too slender to have even been a major player in the world of fictional spy fiction, mildly complex and no more. A pleasant diversion, that’s all, and no less.

   Plus – and I’m sure it’s a huge bonus in some collectors’ minds – a really spiffy cover by Robert McGinnis, which I imagine you’ve guessed – and admired – already.

   I spent part of this afternoon annotating the following authors’ entries in Part 25 of the online Addenda to Crime Fiction IV, by Allen J. Hubin. Looking over the list after I was done, the only connecting feature these authors have in common is that they are in this blog post, and nothing else at all.

LEITE, GEORGE THURSTON. 1920-1985. Joint pseudonym with Jody Scott, 1923-2007: Scott Thurston, qq.v. Under this pen name the co-author of one crime novel included in the (Revised) Crime Fiction IV. Owner of Daliel’s Bookstore in Berkeley, editor of Circle Magazine, and a long-time publisher.

RICH, A(RTHUR) T. [Show byline thus.] Author of one detective novel included in the (Revised) Crime Fiction IV. See below.
      The Curate Finds the Corpse. Bear Hudson, UK, pb, 1945. Setting: England.

SCOTT, AMANDA. Add as a new author entry. Pseudonym of Lynne Scott-Drennan, 1944- , q.v. Under this pen name, the author of some 40 romance novels, many of them Regencies. The titles below appear to have at least marginal crime content.
      -The Bawdy Bride. Pinnacle, pb, 1996. Setting: England, 1800s. [Who is responsible for the mysterious events at Lord St. Ledgers’s ancestral estate – including the suspicious death of his brother, the duke?]
      -Dangerous Angels. Pinnacle, 1997. Setting: England, 1829. SC: Lady Letitia Deverill, in a non-leading role.

      -Dangerous Lady. Zebra, pb, 1999. Setting: London, 1800s. SC: Lady Letitia Deverill. [Letty discovers a plot to assassinate the Queen Victoria.]

SCOTT, JODY. 1923-2007. Add year of death. Full name: Jody Hugelot Scott Wood. Born Joann Margaret Huguelet. “Mr. Scott came later closely followed by Mr. Wood.” Joint pseudonym with George Thurston Leite: Thurston Scott, qq.v. Under her own name, the author of two sf/fantasy novels, Passing for Human and I, Vampire.

SCOTT, THURSTON. Joint pseudonym of George Thurston Leite & Jody Scott, 1923-2007, qq.v. Correct full name of the latter to Jody Huguelet Scott Wood, q.v., and add year of death. Under this pen name the author of one crime novel included in the (Revised) Crime Fiction IV. See below.
      Cure It with Honey. Harper & Bros., hc, 1951. Setting: California. Also published as: I’ll Get Mine (Popular Library, 1952). [Confirm this later retitling.]
      _I’ll Get Mine. Popular Library, pb, 1952. See: Cure It with Honey (Harper, 1951). “She loved men, money and marijuana.”

SCOTT-DRENNAN, LYNNE. 1944- . Pseudonym: Amanda Scott, q.v. Born and currently living in California, prolific writer of romance fiction, under both her own name and her pen name.

WOOD, JODY HUGUELET SCOTT. See Jody Scott.

WADE MILLER – Killer’s Choice.

Signet 771; paperback reprint. First printing, February 1950. Second printing, Signet 1235, 1955. Fourth printing, 1961. Originally published as Devil on Two Sticks by Farrar, Straus & Co., Inc. Appeared earlier in Famous Detective magazine, November 1949. Trade paperback: Stark House, June 2008 (paired with The Killer, Gold Medal, 1951).

   In case you were wondering, I have no information about the third Signet printing. It may have been a Canadian printing. But between 1961, when the fourth printing appeared, and the forthcoming edition from Stark House, that’s over 45 years that the book was out of print. (At least it’s coming back. There are many, many books that are over 45 years old and will never see print again, and I don’t mean only hardboiled novels like Killer’s Choice.)

   If you’d like to read more about the writing pair of Robert Wade and Bill Miller, then I can send you to no better place than the original Mystery*File website, where you can find an overview of their career, many reviews of their work, a partial bibliography, and an interview with Mr. Wade conducted by Ed Lynskey back in 2004.

   Killer’s Choice (or Devil on Two Sticks, if you prefer) is not one of Wade Miller’s stories of private eye Max Thursday, which I can highly recommend to you, if you are a private eye fan, and even if you’re not. It’s instead a tough, hard-as-nails story of a mobster named Steve Beck, or rather a head mobster’s right hand man, or enforcer, if you will.

   The setting is San Diego, and when word gets to Beck’s boss, a fellow by the name of Pat Garland, that the state Attorney General’s office in Sacramento has a direct line into his operations, it’s Beck’s job to find the insider and plug the leak, and fast. It’s like a detective story in reverse, with a list of suspects from which to pick the Good Guy, not the other way around.

   Complicating matters is that Beck is falling in love with the daughter of one of his possible choices, a lawyer by the name of Everett. Marcy is slim, young and not as sophisticated as she thinks she is, and a far cry from Beck’s usual taste in women. One more problem: Marcy seems to favor one of Beck’s other suspects more than she does him. Jealousy is an ugly monster.

   There is at least one additional surprise in store for the reader, which I won’t even begin to hint at, other than what I’ve just said. Surprisingly, though, and not the surprise I just alluded to, is that there is not a lot of action in this novel of the rackets. A lot of talk – a lot of threats, some subtle, some not – most of it very intelligent, and you have to read every word behind what everyone says, if you know what I mean.

   I was reminded more of Dashiell Hammett more than I was Raymond Chandler while reading Killer’s Choice. Robert Wade mentions both as influences in the Lynskey interview, along with Alfred Hitchcock, and I can see the latter as well. The book would have made a terrific movie back around 1950, and in the right hands, it still would today.

   But I mention Hammett in the following sense. We follow the story’s progress through Steve Beck, although he does not tell the story himself. We know what he says and what we sees, but we do not always know what he’s thinking, and for a hoodlum, he thinks a lot. And it also turns out that he’s not quite as capable as he has always led himself to believe, and it comes as quite a shock when he discovers this – especially to him.

   It’s also, believe it or not, a fair play story of detective novel also, or very nearly so. The clues are there when you look back, but even so, they’re still rather subtle, and it’s no wonder I missed them the first time around. (I kick myself like this rather often, you understand.)

   As I hope I’ve made clear, this is not your usual Mike Hammer kind of yarn, to pick a rather obvious author to use in comparison, but at the time the books of both of them came out, I think Wade Miller’s books did respectably well in the competition, and deservedly so. It’s good to see this one coming out again, there’s no doubt about that.

   Richard Wright (1908-1960) was perhaps the best-known and most written-about black novelist of the 20th century, but as far as I know no one except myself has ever pointed out the debt he owes to Cornell Woolrich. During the late Thirties when Wright was working on his first and finest novel, Native Son (1940), he is known to have been a voracious reader of the pulp mystery magazines like Black Mask to which Woolrich contributed dozens of stories.

   Native Son’s basic storyline of a young man wrongly accused of murder and running headlong through “streets dark with something more than night” was clearly inspired by Woolrich’s powerful suspense thriller “Dusk to Dawn” (Black Mask, December 1937; collected in Nightwebs, 1971).

   During the last months of his life Wright was working on another crime novel, recently published in unfinished form as A Father’s Law, and it seems equally clear that here too he took his point of departure from Woolrich. In “Charlie Won’t Be Home Tonight” (Dime Detective, July 1939; collected in Eyes That Watch You, 1952) a middle-aged cop slowly becomes convinced that the criminal he’s seeking is his son. Woolrich’s cop of course is white. A Father’s Law deals with a middle-aged black cop who also becomes convinced that his son is a criminal.

   If this is simply a double coincidence, it’s one that even Woolrich (who was prone to stretch coincidence to the outer limits) would have rejected. Any student of African-American literature who’s in need of an unexplored topic could do worse than to investigate the Woolrich-Wright interface in depth.

   Silly mistakes in mystery fiction are not confined to nonentities like John B. Ethan, whose fond delusion that Zen Buddha was a person I discussed in my last column. Some of the biggest names have perpetrated howlers no less ridiculous.

   Take, for instance, Margery Allingham. “The Definite Article” (The Strand, October 1937; collected in Mr. Campion and Others, 1950) finds Albert Campion called in by his friend Superintendent Oates when Scotland Yard is asked by the “Federal Police” of the U.S. (by which I presume she means the FBI) to arrest and deport a “society blackmailer” whose extortion drove a young woman in New York to suicide.

   Excuse me? Where’s the Federal crime? Where’s the Federal jurisdiction? Any doubts that Allingham knew nothing about the American legal system should be allayed a little further in the story when Campion asks Oates why the Feds got in touch with Scotland Yard instead of, say, “the Sheriff of Nevada.” Since when do states have sheriffs?

   Richard Fleischer (1916-2006) directed some of the worst big-budget movies ever to issue from Hollywood but started out helming several excellent little specimens of film noir, perhaps the best known being The Narrow Margin (1952) and Violent Saturday (1955).

   His memoir Just Tell Me When to Cry (1993) says very little about most of his noirs but includes a neat anecdote about a similar film he had nothing to do with. In 1946, as a novice at RKO, he sat in on a production meeting with tough-as-nails executive producer Sid Rogell and the well-known theatrical director Harold Clurman, who was helming his first movie. Fleischer doesn’t name the picture but, since Clurman made only one movie in his life, it has to be Deadline at Dawn, loosely based on Cornell Woolrich’s novel of the same name.

   As Fleischer remembered the meeting, the first thing Rogell told Clurman was: “You don’t have forty days to shoot the picture. You’ve got thirty.” Then Rogell picked up the script, noticed that the first scene took place at night and called for rain (in film noir, what else?) and asked Clurman: “Rain? You know how much fucking rain costs?….What do you want rain for?” “For the mood,” Clurman told him. “Fuck the mood. No rain.”

   Rogell was about to order Clurman to cut back on the number of people who appeared in the scene when the director interrupted: “How about dust? Lots of dust blowing everywhere. Can we afford dust?”

   In the finished film the first scene takes place indoors – the confrontation between the blind pianist (Marvin Miller) and his predatory ex (Lola Lane) – and neither rain nor dust appears in the second scene, which is set outdoors but was clearly shot on a soundstage.

   So many people have told me that I absolutely must see Infernal Affairs (2002), the Hong Kong movie which Martin Scorsese remade with Leonardo di Caprio and Matt Damon as The Departed, that I finally did it earlier this month.

   The Asian film tells the same story as its U.S. counterpart – the duel between two moles, one planted in the mob years ago by the PD, the other planted in the PD by the mob – but much more tightly and cynically and without the graphic in-your-face violence that seems to have become a Scorsese trademark.

If    you’ve hesitated because you’re unfamiliar with Asian action films and are afraid you won’t be able to tell the characters apart, I can assure you that this is not a problem. The wispy-mustached police mole in the mob (Tony Leung) could never be confused with the clean-shaven mob mole on the force (Andy Lau), and the only cop whose knows his mole’s identity (Anthony Wong) could no more be mistaken for the only mobster who knows his mole’s identity (Eric Tsang) than could Martin Sheen for Jack Nicholson in Scorsese’s version.

   I do recommend, however, that Infernal Affairs be seen in letterbox. The panned-and-scanned version I got from Netflix eliminates far too much of each image from an intensely visual film – and one that goes far towards proving that noir has become a universal language.

   This is a continuation of a post made a couple of weeks back, based on a couple of discoveries made by Ken Johnson. First of all, here are the previous Addenda entries, repeated as they were given then:

FRITCH, CHARLES E(DWARD). 1927- . Add pseudonym Eric Thomas, q.v. For many years editor of Mike Shayne Mystery Magazine, beginning in 1979. Under his own name, a science fiction writer and the author of one private eye novel included in the (Revised) Crime Fiction IV.
      _Negative of a Murder. Sydney, Australia: Phantom, pb, 1960. See: Negative of a Nude (Ace 1959).
      Negative of a Nude. Ace, pb, 1959. Australian title: Negative of a Murder (Phantom, 1960). Setting: Los Angeles, CA. Add series character: Hollywood private eye Mark Wonder. Rewritten as Strip for Murder, by Eric Thomas (Kozy, 1960). As described by James Reasoner on his blog: “Mark Wonder […] is hired to recover some blackmail photos.”

THOMAS, ERIC. Add: pseudonym of Charles E. Fritch, 1927- , q.v. Under this pen name, the author of two novels included in the (Revised) Crime Fiction IV; see below:
      Psycho Sinner. Athena, pb, 1961. Add series character: Hollywood private eye Mark Wonder. Says James Reasoner on his blog: “Mark Wonder is hired by beautiful starlet Silvi McClair to find out who’s trying to kill her.”
      Strip for Murder. Kozy Books, pb, 1960. Add setting: Los Angeles, CA. Leading character: private eye Christopher Sly. [Sly is hired by a stripper to recover some photos shed posed for.] According to James Reasoner on his blog, this book is “a very loose rewrite of Negative of a Nude (Ace, 1959), written under the author’s own name.

   After these entries were posted, Ken emailed me with the following information:

    “I have a different book called 7 Deadly Sinners by Christopher Sly, published by Athena Books in 1961, also featuring Sly as the lead character. This book was reprinted a year later by Carousel Books, another porn house, as Fury in Black Lace by Charles Brockden. Here’s the interesting part: Carousel Books were published by Frimac Publications which, it is my understanding, was owned by Charles Fritch and Jack Matcha.”

   We’ll have to leave Frimac Publications to discuss another day — this was certainly news to me — but by pure coincidence, Jack Matcha’s entry was included in the same post as Charles Fritch’s.

   For now, though, the following revised entries will appear in Part 25 of the ongoing online Addenda to Crime Fiction IV, by Allen J. Hubin. Until perhaps Mr. Fritch confirms that he wrote the following books, we’ll reserve the possibility that some plagiarizing may have been going on, as was common in the sleaze-based paperbacks of that era.

SLY, CHRISTOPHER. Possible pseudonym of Charles E. Fritch, 1927- ; other possible pen name: Charles Brockden; qq.v. Confirmed pen name for Mr. Fritch: Eric Thomas, q.v.
      7 Deadly Sinners. Athena, pb, 1961. Setting: Los Angeles CA. Series character: Private eye Christopher Sly. [Sly is hired as a bodyguard to seven beautiful movie starlets.] Note: This book was rewritten as Fury in Black Lace, by Charles Brockden.

BROCKDEN, CHARLES. Possible pseudonym of Charles E. Fritch, 1927- ; other possible pen name: Christopher Sly, qq.v. Confirmed pen name for Mr. Fritch: Eric Thomas, q.v.
      Fury in Black Lace. Carousel, pb, 1962. Setting: Miami Beach FL. Leading character: Private eye Nicholas Gamble. [Gamble is hired as a bodyguard to seven beauty contest contestants.] Note: This book is a rewrite of 7 Deadly Sinners, by Christopher Sly.

KATHERINE HALL PAGE – The Body in the Fjord.

Avon, paperback reprint; 1st printing, November 1998. Hardcover first edition: William Morrow, November 1997.

   False advertising. Although her name is not on the front cover, it’s on the back cover and all over the first couple of blurb pages. This is supposedly a “Faith Fairchild” mystery, and it isn’t.

   Faith Fairchild, for those of you who may not know, is a minister’s wife who lives in Aleford MA (a small fictional village somewhere outside Boston), and she’s solved many a case in her day, but not this one. She appears in a few pages at the beginning, a couple in the middle at the other end of a telephone call, and a few more at the end. That’s all.

   Besides being a sleuth, a wife and a mother, and not necessarily in that order, Faith also has a catering business on the side. Working for her part-time is Pix Miller. What Pix knows about murder cases, she’s learned from Faith, but it hardly seems enough for her to tackle a book’s worth of adventure on her own – and it isn’t, I’m reluctantly sorry to say.

   Pix and her mother Ursula head for Norway in this book – which should hardly come as a surprise, given the title of the book – where they try to track down Kari, the granddaughter of Ursula’s best friend Marit. Kari and Eric, her boy friend, had been working as stewards on a guided tour through the land of the fjords for a group largely consisting of Americans.

   But Eric has been found dead, and Kari is missing. You might think it would be the utmost in audaciousness for two American women to come to a foreign country to do the job of the local police, and for the most part, you would be right. Mitigating this rather shaky basis of the story line is the picturesque quality of the tour they join, asking all kinds of questions as they go. Most of the central part of the book is as much a travelogue as it is a mystery, which is what we primarily signed up for, or at least I did, complete with recipes in the back.

   Possible reasons for Kari’s disappearance: she and Eric may have stumbled upon a stronghold of Nazi survivors or sympathisizers; or a gang of smugglers of Norwegian artifacts; or a cabal of industrial spies in the oil business; or the romance between the two young people may have ended in a lovers’ spat and that is that.

   Or any combination of the above. The police don’t make an appearance until page 167, leaving Pix and her mother the only ones on the scene asking questions and getting into serious trouble, especially Pix. It’s all a case of too much, which is quite a paradox, since it’s also a case of far too little.

   Here’s a list of all the Faith Fairchild books, expanding upon the entry in Crime Fiction IV, by Allen J. Hubin. I’d recommend that you read one or another of this list instead, at least for the first one. If you’ve already read one, you’re probably way ahead of me on this.

LES ROBERTS – The Cleveland Local.

St. Martin’s; paperback reprint, December 1998. Hardcover first edition: St. Martin’s, November 1997. Trade paperback: Gray & Company Publishers, June 2005.

   I’ll begin, not at the beginning, or not really, with a list of all the mystery fiction that Les Roberts has written. This I put together from what I found in Crime Fiction IV, by Allen J. Hubin, plus the bibliography that Mr. Roberts provides on his own website:

         The Saxon Series:     [A Los Angeles actor turned private eye.]

• An Infinite Number of Monkeys (St. Martin’s Press, 1987)
• Not Enough Horses (St. Martin’s Press, 1988)
• A Carrot for the Donkey (St. Martin’s Press, 1989)
• Snake Oil (St. Martin’s Press, 1990)
• Seeing the Elephant (St. Martin’s Press, 1992)
• The Lemon Chicken Jones (St. Martin’s Press, 1994)

         The Milan Jacovich Series:      [A private eye of Slovenian heritage based in Cleveland OH.]

• Pepper Pike (St. Martin’s Press, 1988)
• Full Cleveland (St. Martin’s Press, 1989)
• Deep Shaker (St. Martin’s Press, 1991)
• The Cleveland Connection (St. Martin’s Press, 1993)
• The Lake Effect (St. Martin’s Press, 1994)
• The Duke of Cleveland (St. Martin’s Press, 1995)
• Collision Bend (St. Martin’s Press, 1996)
• The Cleveland Local (St. Martin’s Press, 1997)
• A Shoot in Cleveland (St. Martin’s Press, 1998)
• The Best-Kept Secret (St. Martin’s Press, 1999)
• The Indian Sign (St. Martin’s Press, 2000)
• The Dutch (St. Martin’s Press, 2001)
• The Irish Sports Pages (St. Martin’s Press, 2002)

         Stand Alones:

• The Chinese Fire Drill (Five Star, 2001)
• The Scent of Spiced Oranges (Five Star, 2002)

   Here’s the real beginning, the first sentence of The Cleveland Local: “It was a black-and-white-movie morning when I opened my office, looked out the window down the Cuyahoga River, and saw the angry thunderheads hunkered over Lake Erie.”

   And here’s how the man pronounces his name: MY-lan YOCK-o-vitch, which he proudly makes sure the reader knows by page 3. Milan is an ex-football player and pretty much of a blue-collar kind of PI. He knows his way around every section of Cleveland, though, from the ethnic neighborhoods where he grew up to the ritzier parts of downtown and areas where the richer people live.

   In The Cleveland Local he’s hired to tackle a rather cold case, that of the shotgun murder of a young professional lawyer on the Caribbean island of San Carlos ten weeks earlier. Obviously there’s no way the Cleveland cops can get involved, so the case is steered Milan’s way. The dead man’s sister, also an attorney, is picking up the tab.

   What Milan can’t understand is why the dead man’s father, a noted well-to-do labor attorney, wants nothing to do with the investigation, making him wonder if the sister might be right, and that there’s a local connection, not just another botched robbery attempt in a foreign country and international resort area.

   And of course there is. That’s almost not the point. What Roberts is equally interested in, besides the mystery, is to illustrate why and how he loves the city of Cleveland, the ins and outs, the people who run it, mostly behind the scenes, in a fictional paean to the town, with a hint of melancholy for the older days. There’s also some introspective father-son stuff involved as well, without being overly blatant about it, plus a generous hint of a budding romance. (Milan is divorced from his two boys’ mother.)

   Milan’s technique consists of asking good common sense questions, persistence, a tough guy attitude (which at over 40 he can still back up) and persistence. An excellent combination, marred by the fact – and I dislike having to bring it up – by the relative weakness of the mystery. The motive for the murder seems too slight, the method too complicated, and people in retrospect don’t seem to have behaved in appropriate fashion to it.

   Can I say that and still say that I enjoyed the book? I can, and if you didn’t notice, I just did. I should also point out, as many of the reviewers on Amazon also do, that the ending is one that will have readers immediately reaching for the next book in the series, which – thanks to the bibliography above – would have been A Shoot in Cleveland. It looks like a must read to me.