The third Parker novel: The Outfit (Pocket Books, 1967)
What is it?
Volume 3 of Richard Stark’s Parker series of crime novels. It is also the third part of the unofficial Outfit Trilogy, the first three books in the series, in which Parker goes up against an organized crime syndicate.
Quick and Dirty Summary
After surviving an assassination attempt by a killer hired by the Outfit, Parker decides it’s time to settle matters with organized crime once and for all.
“Don’t you know,” she said pitingly, “that everybody’s got a Fairyland of their own?”
Ultimately, I have Baird Searles (or you have to blame) to thank for pointing to P.L. Travers‘ original Mary Poppins books. To quote the entry in his A Reader’s Guide to Fantasy (1982),
Those who know P.L. TRAVER’s acerbic creation, Mary Poppins, only through the persona of Julie Andrews, do not really know Mary Poppins, despite the best efforts of that charming actress. Mary Poppins seldom has a kind word for anyone, almost never smiles except at heir own prim reflections, and can get four children washed and in bed with No Nonsense Whatsoever.
I didn’t rush out and buy the books, but his words always lingered in my memory, and when I saw the books for sale in the old Borders in the World Trade Center, I bought the first one, Mary Poppins (1934), and promptly devoured it. Strains of the book and its sequels can be heard in the Julie Andrews’ movie, but there are deeper, more mythic moments that I imagine Walt Disney wanted no part of.
Travers was born Helen Lyndon Goff in Australia in 1899. She took to the stage as a teenager, creating for herself the stage name Pamela Lyndon Travers. For several years she traveled in Australia and New Zealand as part of a Shakespearean company. In New Zealand, she became a published poet and later a primary writer for the women’s sections in a Christchurch newspaper.
Andre Norton’s Janus novels: Judgment on Janus and Victory on Janus (Fawcett Crest, December 1979 and January 1980). Covers by Ken Barr
I read a lot as a kid and read widely, sampling anything I could find. I always had books on my “want to read” list but also had a lot of chores and never had as much time to read as I wanted.
As a result, when I was a teenager and we were “assigned” readings for school, I resented it. I already knew a dozen books in the library I wanted to read as soon as I could get to them. And, too often, the assigned books were not nearly as colorful or interesting as the stuff I was already reading.
The second Parker novel: The Man With the Getaway Face (Pocket Books, 1963)
What is it?
Parker has gone to a lot of trouble and expense to get a new face. Now he has to fight to keep his identity hidden, while also planning and executing an armored car heist.
A treacherous waitress and a punch-drunk former boxer complicate those matters tremendously.
This is Volume 2 of Richard Stark’s “Parker” series of crime novels. It is also the second part of the unofficial Outfit Trilogy, the first three books in the series, in which Parker goes up against an organized crime syndicate.
“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep
(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)
I have a shelf full of Jim Thompson books. For A (Black) Gat in the Hand, I decided to read a couple I had not got to yet. So, Wild Town was followed by A Swell Looking Babe. Then, Nothing More than Murder. And I mixed in The Grifters (which I have read, as well as seen the movie) into my audiobook listening.
While I’ve got a post dedicated to maybe his most unusual book – The Transgressors – in the works, I wanted to bring up one common aspect in his writing.
It can be difficult to sympathize with the main character, as they’re often not very nice people. That’s a post in itself. And those characters are often saturated with bleakness. I rarely read two Thompsons in a row. I need a palette cleanse after one. He’s good. But he’s about as joyful as Full Metal Jacket.
The Steranko History of Comics, Volumes One and Two, front covers
Imagine Mount Rushmore with only one president on it. Picture a Washington Monument that’s only 185 feet tall instead of 555. How about a Statue of Liberty missing two arms and a head? No takers? I don’t blame you; there’s nothing more frustrating than a great beginning that remains incomplete.
Take TheSterankoHistory of Comics, a work that was intended to fill six volumes. The first two came out in 1970 and 1972… and then, nothing. It’s been fifty-four years now and I don’t mind telling you, I’m starting to lose hope.
Certainly no one was (or is — he’s still with us at the age of eighty-eight) more qualified to write a history of comics than Jim Steranko. Active in the industry as an artist and writer since the late 50’s, he did his most famous work for Marvel on their Nick Fury, Agent of S.H.I.E.L.D. title. Charging through the door that Jack Kirby had kicked open, Steranko created some images (especially his Nick Fury covers) that have become icons of the psychedelic 60’s as essential as anything by Andy Warhol or Peter Max.
The Issue at Hand, by William Atheling, Jr., AKA James Blish (Advent: Publishers, 1964). Cover by Jon Stopa
In 1952, a science fiction fanzine, Sky Hook, began publishing a series of critical essays by William Atheling, Jr. When its publisher, Redd Boggs, suspended publication, the science fiction writer James Blish publicly revealed that this was a pseudonym he had adopted. But a few years later, he revived “Atheling” for more criticism, published in another fanzine, Axe.
In 1964, Advent: Publishers collected his critical writings, including both fanzine articles and addresses given at science fiction conventions under his own name, as The Issue at Hand, credited to Atheling, “edited and with an introduction by James Blish,” though the book made no secret of the author’s identity. In 1970, a second collection appeared, More Issues at Hand.
Sometime Lofty Towers (Brackenbury Books, December 2025). Cover by Saša Đurđević
I’ve just finished reading what may be David C. Smith’s best work — Sometime Lofty Towers.
My first contact with Smith was from the Robert E. Howard related pastiche work he did earlier in his career. He wrote an excellent Black Vulmea story, The Witch of the Indies (Zebra, 1977, cover by Stephen Fabian), and a Bran Mak Morn tale, Witch of the Mists with Richard Tierney (Zebra, 1978, cover by Doug Beekman), and he and Tierney (1936 –2022) collaborated on six novels about Red Sonja. The Sonja tales are not REH pastiches, of course, but are based on a comic book character created to interact with Conan in the Marvel series.
The Fall of the First World trilogy by David C Smith, from Pinnacle Books (1983). Covers by Carl Lundgren and Kevin Johnson
David C. Smith also wrote a trilogy of fantasy novels under the collective heading of The Fall of the First World. These were all released in 1983 from Pinnacle Books and are:
1. The Master of Evil, January 1983. Cover by Carl Lundgren
2. Sorrowing Vengeance, September 1983. Cover by Carl Lundgren
3. The Passing of the Gods, December 1983. Cover by Kevin Johnson
This trilogy is less Sword & Sorcery and more High Fantasy, although it’s not exactly that either. It’s hard to categorize. In some ways, the political maneuverings in the series are a harbinger for later series such as Game of Thrones.
Payback: Straight Up Director’s Cut (Paramount direct-to-home-video, 2006)
Payback: Theatrical Cut and Straight Up (The Director’s Cut)
1999 theatrical release; recut, direct-to-home-video DVD in 2006. Written by Brian Helgeland (with Terry Hayes) and directed by Brian Helgeland (with Paul Abascal).
What is it?
Brian Helgeland (A Knight’s Tale; Man on Fire; the script for LA Confidential) wrote and directed this adaptation of The Hunter, the first novel in the Parker series, starring Mel Gibson.
As the film was nearing completion, test audiences reportedly reacted poorly to the ending. And yeah, it’s pretty dark and violent and certainly not the triumphant conclusion many Gibson fans were probably expecting. Consequently, Gibson and the studio removed Helgeland from the film. They brought in Terry Hayes to rewrite the ending and added Kris Kristofferson as a new “final boss” villain.
