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Galloway Gallegher — Kuttner’s Sauced Scientist

Galloway Gallegher — Kuttner’s Sauced Scientist

Robots Have No Tails (Lancer, 1973). Cover by Ron Walotsky

Try this one on for size…you go to sleep one night and have a lively dream. You see yourself doing wonderful things, creating new devices based on principles so advanced you can’t even image how they could be. You don’t question the fact that it is a dream because you know that, normally, you could never build such fabulous, world-changing technologies. It’s all kind of fuzzy though — what you’re building, the people you’re interacting with, everything.

When you wake in the morning you discover any number of strange devices in your house. You have no idea what they are, how they work, or where they came from. The phone rings. Apparently, there are several people to whom you now owe a lot money. You’ve never met any of them before but they seem to know you. Is it a scam? You hope so because one of them is suing you for breach of contract. Another is taking you to court for assault and battery. What happened? Could your dreams have been real somehow? Regardless, it seems that you’re now morally responsible for a whole lot of trouble.

This is essentially the premise of Henry Kuttner’s five Galloway/Gallegher stories: “Time Locker” (1943), “The World Is Mine” (1943), “The Proud Robot” (1943), “Gallegher Plus” (1943), and “Ex Machina” (1948).

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What I’ve Been Reading Lately: January 2020

What I’ve Been Reading Lately: January 2020

Garrett_SweetsilverEDITED“Say, Bob, it’s been an ENTIRE month since you told us what you’ve been reading lately. The suspense is keeping me up at night.” OK – so nobody said that to me. I’ll tell you some of the stuff I’ve taken off of the shelves lately, anyways.

GLEN COOK – SWEET SILVER BLUES

I’ve already written about Glen Cook’s terrific hardboiled, fantasy PI series featuring Garrett. It combines Raymond Chandler, Nero Wolfe, and Terry Pratchett in a terrific fashion. I have a hard time imagining a better series. I’ve talked to a couple fellow Black Gaters about a round-robin look at several books in the series: So many ideas, so little time.

I’m working on this essay on Sunday evening, mere hours ahead of deadline, because I spent a couple hours yesterday re-reading book one, Sweet Silver Blues, instead of sitting at the keyboard and writing. I like it quite a bit, but it’s in book two, Bitter Gold Hearts, that the series really settles in. I’ve read most of the series at least twice before over the years. A few of my friends didn’t care for 2013’s Wicked Bronze Ambition, the last (but hopefully not final) book. It’s definitely not one of my favorites, but it’s still Garrett, and I hope there will be at least one more.

This is one of my favorite series’ in both the fantasy and private eye genres. HIGHLY recommended. And I’m also a huge fan of Cook’s The Black Company, which is light years away in tone and style. He’s simply a very good writer. Black Gate buddy Fletcher Vredenburgh did a fantastic walk-through of the entire series last year.

JOHN D MACDONALD

John MacD has been my favorite author for about three decades now. I enjoy his standalones, his short stories, and his Travis McGee books. I’ve written about him several times, and if all I did was write for Black Gate (sadly, I need to pay my bills and other such nonsense), you’d be reading a LOT about him here.

Earlier this month, after holding off for over twenty-five years, I finally watched the 1970 adaptation of Darker ThanAmber, with Rod Taylor as Travis McGee. Then, I went and re-read the book over the next couple of days. Taylor grew on me as the movie progressed, and they followed the book fairly faithfully. The final fight scene between McGee and Terry was really something to see.

I think this is a better version of a McGee novel than the 1983 film starring Sam Elliot (why in the world would you transplant McGee to California?!).

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Bob’s Books: “Fast, Loose Money” by John D. MacDonald

Bob’s Books: “Fast, Loose Money” by John D. MacDonald

MacDonald_EndTigerCover2EDITEDJohn D. MacDonald broke in near the end of the Pulp Era, writing for science fiction and mystery magazines. He appeared in Dime Detective his first year of writing, and made it into Black Mask the next. Joe ‘Cap’ Shaw became his agent after the legendary editor left the magazine. He quickly became a staple for Fawcett Gold Medal’s paperback origscoinal novels, while still writing short stories, including for slicks like Redbook and Cosmopolitan. With seven stories in 1958 (the same as in 1957), Macdonald effectively ended his run as a short story writer and shifted almost completely to novelist.  He would only write that many short stories in a year twice more for the rest of his life.

The last story published in 1958 was “The Fast, Loose Money,” in the July issue of Cosmopolitan. It was included in the 1966 collection, End of the Tiger and Other Stories. One of the fourteen other stories in that book is “The Trap of Solid Gold,” which I think is one of his best; and which Steve Scott used to name his blog – the best John D. MacDonald site on the web. You can read Steve’s two-part essay on MacDonald’s Park Falkner, here.

At eleven pages of tightly spaced small print, it’s a little longer than almost every other story in the book.

During World War II, MacDonald was an ordnance officer in the India-China-Burma Theater, working in procurement. He was initially assigned to New Delhi, and he did not like India, writing over forty years later, that it “was a sorry country, full of sorry people.”

He was transferred to the Office of Strategic Services (OSS), which became the CIA. He worked out of Ceylon (Sri Lanka), Burma, and China. MacDonald would use his experiences and knowledge of his wartime service in the Far East, in several of his short stories. 1958’s “Taint of the Tiger” was expanded into a Fawcett Gold Medal paperback, Soft Touch. Another ‘war-roots’ story from that year is “Fast, Loose Money.”

Something has gone very wrong in Jerry Thompson’s day. Jerry owns three parking lots in a nearby city. He and his wife Marie live well enough off of them, but as he says, “If you play by the rules, you’re a sucker.” So, Jerry had been using a duplicate ticket scheme to grab some off-the-book income, totaling about $26,000, which he kept at home in a wall safe, and spent low-key, to avoid the danger of getting caught.

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A (Black) Gat in The Hand: Bill Crider Reviews ‘The Brass Cupcake’

A (Black) Gat in The Hand: Bill Crider Reviews ‘The Brass Cupcake’

Crider_BillEDITEDYou’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)

If you asked me to name the nicest person I’ve encountered since becoming a writer/blogger/whatever I am, I’d immediately fire back, “Bill Crider.” I have yet to come across one person who had anything bad to say about Bill. He was always friendly, and generous with his knowledge and advice. Bill was an excellent writer of mysteries and westerns, best known for his Sheriff Dan Rhodes series.

His ‘Bill Crider’s Pop Culture Magazine’ was a fun blog, full of all kinds of short posts about books, music, advertisements, history – pop culture stuff. I’m pretty sure that Bill would have liked A (Black) Gat in the Hand. And I think he would have contributed an essay. So, for the final entry in round two, I’m reposting Bill’s review of John D. MacDonld’s The Brass Cupcake. Swing by his blog and read some great stuff!

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A (Black) Gat in the Hand: Norbert Davis goes West(ern)

A (Black) Gat in the Hand: Norbert Davis goes West(ern)

Davis_DeadMansBrandEDITED

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)

Wasn’t sure what to write about this morning. I went on a mini Sword and Sandals kick and recently finished Scott Oden’s Men of Bronze, and Howard Andrew Jones’ Desert of Souls (reviews coming, time willing). I’ve played a lot of Conan Exiles the past few months (when I could) and I definitely want to do a post on that. It’s Minecraft on Steroids (now THERE’S a post title!). My Game Night group dug into Shadows of Brimstone earlier this year and that was a lot of fun (not as brutal as Descent). And my son and I are revisiting Star Wars Destiny (a neat card/dice game).

I’ve continued to work on what I hope will be the definitive Max Latin (Norbert Davis) essay. Though, to be honest, there isn’t really much competition for that honorific. His Latin stories are even more woefully neglected than Davis himself is. Being in a Davis mood, I decided to get Black Dog Books’ Dead Man’s Brand. Davis is best known for his screwball hardboiled comedies (a style that didn’t get him many sales to Cap Shaw, famed editor of Black Mask).

But he wrote for several pulp genres, as well as for the higher-paying slicks. This collection includes eight solid westerns from the pulps, including Dime Western Magazine and Star Western. There’s a good introduction by Bill Pronzini, and in the afterword, Ed Hulse talks about the lone movie adapted from a Davis story (there’s further proof of the under-valuing of Davis’ work).

Maybe I can talk James Reasoner or Duane Spurlock into doing a much better essay on Davis’ westerns than I could possibly ever hope to write, but I’m just going to talk about the first story: “A Gunsmoke Case for Major Cain,” which appeared in Dime Western in October, 1940.

We don’t learn all the details right away, but the story opens with a young girl named Missy trying to crawl under a covered wagon while her drunken uncle (Pops Reese) whips her with a quirt (a short-handled riding whip with a braided leather lash). The coffee she gave him was too hot and burned his tongue. That’s the kind of guy he is. Well, that, and he’s taking her to the town of Cranston to sell her to the local boss – presumably to become a whore in his saloon.

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Blogging Marvel’s Master of Kung Fu, Part Nine

Blogging Marvel’s Master of Kung Fu, Part Nine

Master_of_Kung_Fu_Annual_Vol_1_1Master of Kung Fu Annual #1 was a reworking of what would have been Giant-Size Master of Kung Fu #5 had Marvel’s short-lived line of quarterly publications not been prematurely discontinued. As it stands it was the only King-Size Annual Marvel published for the series. Marvel Annuals were generally a mixed bag and this is no exception. A few select ones offered truly special longer stories which were a delight for loyal readers, but most were either hurriedly produced or generally disappointing tryouts for aspiring Marvel writers and artists to demonstrate their handling of established properties. Master of Kung Fu Annual fell in the former category with Doug Moench and Keith Pollard tossing off Shang-Chi’s first encounter with Iron Fist.

The story itself isn’t terrible, but Shang-Chi is almost a guest star in what is essentially an Iron Fist story that is centered on the character’s origins. The visit to the otherworldly dimension that Iron Fist calls home to take on an invasion force led by a sorcerer really seems to be more of a martial arts spin on Doctor Strange. The artwork utilizes some of Steve Ditko’s interdimensional concepts, but without any of his sense of abstract wonder. I was not acquainted with Iron Fist having a mystical background and the story did nothing to make me care much either way as it was clearly knocked off quickly by the overworked Doug Moench. Like the companion magazine, Deadly Hands of Kung Fu, this seemed largely a wasted opportunity. Fans of the character may be interested that there is a brief continuity reference to an ongoing storyline involving Daughters of the Dragon in the companion magazine which one suspects might have made for a more engaging crossover for Shang-Chi, although based on their crossovers in the magazine, perhaps it would have fared no better.

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Lost Classics of the Pulps: Guy Boothby’s The Curse of the Snake

Lost Classics of the Pulps: Guy Boothby’s The Curse of the Snake

Curse of the SnakeThe Curse of the Snake is the Guy Boothby title I have been waiting years to read. I previously covered the five books in his Dr. Nikola series as well as his 1899 novel, Pharos the Egyptian for Black Gate. Boothby is an author whose works have fallen into relative obscurity, but his influence was quite pervasive. A contemporary of Sir Arthur Conan Doyle and Bram Stoker, he turned out works that stand up well against their more celebrated efforts. Most importantly, the influence of Dr. Nikola is felt heavily upon Sax Rohmer’s Fu Manchu series and the character of Ernst Stavro Blofeld from Ian Fleming’s James Bond novels. Boothby’s great flaw was that he was a prolific author of serialized novels who made no effort to correct inconsistencies when his works were published in book form. This hurt his reputation and, along with the speed with which he produced new works, unfairly suggested he was little more than a hack.

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Of Phibes and Androbots I Sing

Of Phibes and Androbots I Sing

phibes 5Phibes 4Dr. Phibes is far more than the evocation of the great thriller characters of its creator’s childhood; he is a character that stands proudly alongside Dracula, Moriarty, Nikola, Fu Manchu, Fantomas, and Mabuse as an equal in inventiveness and execution. William Goldstein, as screenwriter and novelist, created an immortal as only the best storytellers do. Phibes is a character who transcends his era, defines his own archetype, and is firmly established in his own mythology to pass from one generation, century, and millenium to the next. The best news for fans is The Master’s work continues with the fifth and latest book in the ongoing series, The Androbots – Book I of The Dr. Phibes Manifest.

Those who have read the first four books in the series or, at the very least, my other Black Gate articles covering these titles, are aware there is a significant tonal difference between the two Vincent Price Dr. Phibes films of the early 1970s and William Goldstein’s novels. The books retain the films’ eccentricities, but are far more tragic than comedic. I do revere the two AIP releases. Director Robert Fuest and his production crew imbued both pictures with a sardonic touch that allowed Vincent Price and several of his co-stars to turn in subdued performance that carefully balance extreme bursts of horror, tragedy, and comedy. One never knows quite what to expect as one scene ends and the next begins when watching the films.

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A (Black) Gat in the Hand: Duane Spurlock on T.T. Flynn’s Westerns

A (Black) Gat in the Hand: Duane Spurlock on T.T. Flynn’s Westerns

Flynn_DeepCanonEDITEDAnd we’re back live here at A (Black) Gat in the Hand. And we went big, making our first foray into that venerable pulp genre, The Western. I lobbied author Duane Spurlock to join in during the column’s first run, and he decided it was easier to write a post than have me pestering him again. I discovered T.T. Flynn through his Dime Detective stories about racetrack bookie Joe Maddox. But Flynn would go on to a long, successful career writing Westerns. Read what Duane has to tell us!

“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)

When we discuss hard-boiled narrative, the default topic typically is crime fiction—usually the pulp-magazine-era tales from Black Mask and its contemporary competitors through the digest era, culminating in the pages of Manhunt and engendering the rise of the paperback original novel. Bob Byrne  has been admirably addressing the earlier realm of hard-boiled narrative in his Black Gat essays.

But hard-boiled writing encompasses more than the works of Carroll John Daly, Dashiell Hammett, Raymond Chandler and their followers. The western genre is a prime example.

These days, if someone mentions the hard-boiled western, what usually come to mind are the violent Spaghetti Western film genre and the resulting prodigious output from the Piccadilly Cowboys and The Man With No Name novels written by Joe Millard and others. Actually, the western and hard-boiled narrative have a long, intertwined history. It began at least with the novel that launched what we recognize as the literary western romance: the 1902 bestseller by Owen Wister, The Virginian, which includes the famous line, “When you call me that, SMILE!” If that’s not hard boiled, I’m not sure where we’ll go with this discussion.

(1902: Twenty years before Daly published ‘the first hard-boiled story,’ “The False Burton Combs” in Black Mask and before Hammett’s first stories, “Holiday” and “The Parthian Knot,” appeared in Pearson’s Magazine and The Smart Set; twenty-one years before Ernest Hemingway’s first short stories were published in Paris, “Three Stories and Ten Poems“)

Of course, the western and the crime story are closely related: since most involve robbers, rustlers, and murderers, we don’t really need John Cawelti’s The Six-Gun Mystique or Richard Slotkin’s Gunfighter Nation to make those connections. During the pulp era, many writers worked in both western and crime/mystery genres, as a number of contemporary authors continue to do – the late Ed Gorman, Loren Estleman, Bill Pronzini, Robert Randisi, and the late Bill Crider have all created excellent tales in both arenas). Among them was T.T. Flynn, whose writing career began in the 1920s.

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Of Horizons and Common Sense Lost

Of Horizons and Common Sense Lost

51G8TVzla+L._SX323_BO1,204,203,200_I recently got around to reading Gerry Conway’s introduction to Marvel’s Deadly Hands of Kung Fu Omnibus, Volume One for a forthcoming article. If there was a retroactive Astounding Award for Best Self-Loathing Writer of 2016, Mr. Conway would surely be a contender. There is nothing wrong with a writer looking back in some embarrassment over past work or even admitting their good intentions now seem naive from the vantage point of the present, but Mr. Conway apologizes so profusely for several thousand words one would be forgiven for thinking he committed a capital crime.

Truth be told, Mr. Conway’s unforgivable sin was his cultural appropriation in daring to cast people of color as heroes in his fiction of the 1970s. For you see, by some cruel twist of fate, he had the misfortune to be born to a white family and raised in a white neighborhood in the 1950s. Personally, I thought his having created diverse characters to appeal to minority readers and encourage tolerance among all readers in the decade following the Civil Rights movement is something he should be proud of, but apparently not so.

What’s more, all of his wailing and grinding of teeth is in the form of an introduction to a volume reprinting the work he is so ashamed of. One wonders what the purpose is of writers telling readers who just spent money buying reprints of their work how truly offensive those same works are. Given that Mr. Conway spent much of his career at Marvel Comics channeling Stan Lee’s voice, one wonders why Stan Lee isn’t likewise condemned for cultural appropriation for creating Black Panther and the Utopian nation of Wakanda. Of course, logical thinking isn’t advisable in a society that feeds off emotional reactions to maintain a constant state of division.

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