The DC Comics Golden Age and Silver Age reprint series are must-have books for collectors. Reprinted in full color with covers, this Batman volume reprints Detective Comics # 27 -45, and Batman # 1-3, and The New York World’s Fair Comics # 2. Fans will be familiar with some of these early Batman stories. However, many stories have never been reprinted since their original publication. The essential elements of Batman’s mythology are all evident. Creator Bob Kane and writer Bill Finger clearly modelled Batman after The Shadow, and the tales are all moody, night-time adventures. Bob Kane’s awkward, stiff artwork is redeemed by his ability to layer a scene with fog or moonlight or some other gothic imagery. These are the stories that served as a template for Batman’s transformation in the early 1970s from the chubby cowled crusader into the Dark Knight of today thanks to writer Denny O’Neil and artists Neal Adams, Irv Novick and Dick Giordano. My favorite here is Detective Comics # 29, only Batman’s third appearance. He battles Doctor Death in a great, vintage mad scientist tale. This volume also introduces The Joker, Robin, the Bat-plane, and the Batmobile – which looked so much cooler back then than they do now. These stories teeter-totter between being creepy to cornball. The original color palette is reproduced to great effect. A fantastic collection overall, and historically vital. Additional volumes are already available for Batman, Superman, Wonder Woman, Green Lantern and The Flash. I have never seen these in a bookstore, so I recommend logging onto Amazon to order.
Thursday, September 14, 2017
Sunday, September 10, 2017
Midwood paperbacks sold for 35 cents or 50 cents for some of the “Specials.” Depending on where you were in the country in 1962, you might have found Wait Your Turn on a wire spinner rack in certain types of stores. Spinner racks were everywhere, and occasionally some Beacon or Midwood books would find themselves making the squeaky turn on the rack as greedy hands pawed at the latest titles. Spinner racks of paperbacks and comics were in so many places in addition to bookstores; pharmacies, delicatessens, tobacco shops, liquor stores, even shoe stores or a haberdashery (I know you all remember haberdasheries). Those spinner racks helped clean the surplus coins from your pocket. In the age of plastic “debit card” money, such concepts must seem alien. Jason Hytes, about whom I know nothing, wrote quite a few sexy titles for Midwood. Frankly, Wait Your Turn is saucier than most Harlequin romance novels published today. The first chapter alone is sexier than a Kim Kardashian selfie. This is hot stuff but not pornographic. The vivacious Connie Vincent eagerly awaits her husband Eddie’s release from prison. She hasn’t been with a man since Eddie went away, and Connie is a woman with strong sexual needs. With instructions to wait for Eddie at the White Sands hotel, she meets Ralph Jamison, the hotel owner, who promptly seduces her with some wine. Connie enjoys the immediate tryst although she soon regrets it. Eddie catches her with Jamison later and vows revenge. Suddenly, Connie is Jamison’s mistress while Eddie is out there somewhere plotting his revenge. Connie begins to wonder if she isn’t a nymphomaniac. Up next is Larry McDonald, a hotel guest who can’t keep his eyes off her desirable figure. Meanwhile, Connie is following Jamison’s orders and keeping company with various hotel guests whose hands are often gliding admiringly along the firm roundness of her buttocks and other delectable parts. Connie is both disgusted and excited by her own actions. This panting action goes on for some time but in chapter eleven a sudden outburst of violence changes everything. The remainder of the novel is a gritty contrast to the melodramatic sex of the early chapters. Eddie is back, sadistic and crazy, and the conclusion is rushed but at least offers Connie a break, as you would expect. Author Hytes demonstrates a grasp for crime writing and action. It made me wonder what his other books are like so I may track some down. Wait Your Turn is a generally solid novel, sometimes erotic, and occasionally suspenseful. I consider it one of the better titles I’ve read from Midwood.
Friday, September 1, 2017
This 1950 Whitman hardback is my favorite juvenile Roy Rogers novel. The author, Walker A. Thompkins, wrote numerous Western novels and stories. I have read very few, usually when I found a story in some old pulp magazine. I have a few vintage paperback Westerns of his, but not much else. Roy Rogers and the Ghost of Mystery Rancho is well written with an implausible plot. The target audience were pre-teens and the writing reflects the common 1950s attitude toward juveniles which meant keep it simple. Still, the narrative flows well and Thompkins had a knack for making the silliness palpable. I can’t fault his writing at all. At the time, Westerns were still immensely popular, and both writers and filmmakers were obligated in making the Horse Operas seem fresh. No easy task, considering Westerns were mass produced in multiple mediums; paperbacks, hardbacks, magazines, radio, films and television shows all routinely featured Westerns. They were a part of the American diet; a full-course meal of galloping horses and blazing six-shooters. Masked vigilantes were long the trend, in both pulp stories and film serials, and Thompkins put that device to good use right away. Down in Texas, Roy is riding with Texas Ranger, Whetlaw, who is investigating a report of a ghost terrorizing a rancher named Conroy. When Whetlaw is killed by a talking skeleton, Roy vows to wear his old friend’s tin Ranger star until the culprit is brought to justice. In chapter two, Roy dashes into the place known as “Haunted Mansion” and confronts the talking skeleton, seated now in a chair. Roy plugs the skeleton with his Colt, saying, “Skeletons can’t talk any more than they can shoot. We’ll see if you can take lead as well as sling it.” Roy deduces the prop was rigged to fire guns when a trip-wire was activated, and a hose provided the skeleton a voice, spoken by a still unknown enemy. It doesn’t take long for an actual walking and talking garbed skeleton to show up, and a bullet proof one at that. I enjoyed the speed in which the melodrama unfolded, piling up clues and mysteries one at a time. A blind foreman, quicksand danger, a girl named Texanna, a cowboy named Jingo Bates (what a great name), a smuggler’s cave, and Senor Rattlesnake and his outlaw gang all lend a breathless Saturday morning matinee feel to the prose. Not all of the Whitman books successfully evoked the thrill a ten-year old boy might feel watching one of those Roy Rogers movies, but Roy Rogers and the Ghost of Mystery Rancho clearly succeeds. There was a time when Roy Rogers material was all highly collectible, including the Whitman Books and the Golden Mini-books, but that is all changing, too. So for those of you who fondly recall Roy and Trigger, I recommend you seek out this little item of nostalgia. Happy Trails!
Thursday, August 17, 2017
Arizona Ames and Other American Portraits by Zane Grey
by Thomas McNulty
As a Chicago boy growing up in the swinging Sixties, when nostalgia was a fashionable trend, someone gave me an old Zane Grey paperback. It was Riders of the Purple Sage, and I delved into the book numerous times, thumbing the pages. Occasionally, there was something in the prose that appeared like magical incantations; a descriptive passage that rang true like a guitar chord. The magic lingered in my mind. Here was language with the emotional effect of music, or the resonance of a great motion picture, and it thrilled me: “A sharp clip-clop of iron-shod hoofs deadened and died away, and clouds of yellow dust drifted from under the cottonwoods out over the sage.” That first line set in motion a remarkable tale that was impossible to put down. Years later, as a fledging college student, I learned that line is considered among the great opening declarations in American letters, and that Riders of the Purple Sage is considered a classic of Western genre writing. I experienced a sense of pride in realizing I was already familiar with such a revered book. I began collecting the Walter Black editions. I bought old and new paperback editions as I encountered them. I kept them. Today, I return to Zane Grey far more than any other Western writer.
Zane Grey loved the landscape. He wrote with a poet’s eye but always complemented by his uncanny understanding of human nature. He understood that we are all a part of the landscape we inhabit, and he celebrated his love of the land with adventure tales set in the wild country that he loved so much. From the forests and hills of the Tonto Basin, across the Colorado Rockies; deep in the verdant valleys and forests of tall pines, down winding creeks and across roaring rivers; along the majestic beauty of the Ohio River and down into the glimmering heat-drenched deserts; there Zane Grey had his characters live and struggle and succeed and fail and sometimes die.
At the center of these tales are his characters, and all of Grey’s stories are character driven. I point to Arizona Ames, one of my many favorites. Ames refers to himself as “Just a grub-line ridin’ cowpuncher who cain’t hold a job…” (p 217) but who possesses the virtues and capabilities inherent in our dream of the quintessential American man. Early in the novel, Ames kills the man that had taken advantage of his twin sister, Nesta, and subsequently fled his beloved Tonto Basin where over the course of a decade has earned his reputation as both a capable ranch hand and lethal gunslinger. At the heart of the story is the fact that Ames, being afraid of devoting himself to a woman, continuously ends up on a lonely trail. With his beloved twin sister and her children unseen for years, Ames takes the side of the underdog time and again. His reputation precedes him wherever he goes.
Arizona Ames is not seamless. The plot jumps about, and the central incidents are disconnected. However, Ames himself is immeasurably alluring, and like so many of Grey’s characters we find ourselves rooting for him, hoping that he’ll find the happiness that he deserves. Ames is a man running from his past and haunted by his actions. “But I am only a wanderin’ cowboy,” he says at one point, “I have nothin’ except a horse – an’ this blood-stained gun.” (P. 227.) He pushes women away, and rides on, righting wrongs as he goes. When he finally meets Esther it’s a decade into his wanderings and he’s now in his early 30s. As for Esther, she thinks “…he was the finest-looking man she had ever seen, obviously a cowboy, or most certainly a rider. Tall, lithe, booted, spurred, belted, with gun swinging low, gray-clad, his head drooping, with face hidden under a wide sombrero that had once been white…” (p.235)
Ames is the quintessential Zane Grey hero, blood-brother to most of the protagonists in his Westerns, possessing of a singular morality, an unspoken code of honor, decent and honorable. Grey created with his literature a series of American portraiture that is perhaps idealized to fit his vision of the American West, and far removed from the industrial revolution that was changing the landscape before his very eyes. Grey was born in 1872, and the changes in American life he experienced by the time his first story was published in 1903 were profound.
Grey was prolific, and once Riders of the Purple Sage became a best-seller, he was constantly in demand. He rarely deviated from his standard formulae and characterizations, but he was skilled at infusing his prose with likable characters, and enough action to keep readers on the edge of their seats. He became a celebrity, and his legend grew. Zane Grey was a man’s man; a hunter, fisherman, baseball player, film actor, explorer and world traveler. He appears to have been always moving, always writing, with fishing being perhaps his favorite activity next to pursuing women. The books are amazing: Code of the West, Forlorn River, Knights of the Range, The Light of Western Stars, The Lost Wagon Train, The Man of the Forest, The Mysterious Rider, Raiders of Spanish Peaks, Thunder Mountain, Wildfire and so many more. He published over 60 books before his death in 1939.
Certain of his books stand out as examples of great American fiction, although it is the rare critic who will agree with me. Desert of Wheat is a modern tale, set during World War I and published in 1919. Grey strikes an anti-union pose with his depiction of the IWW – Industrial Workers of the World – in addition to discussing ethnic prejudice against Germans. Later scenes set on the battlefront of France during the war are fully realized, and he keeps his romantic notions intact. Desert of Wheat is underrated and quite an accomplishment for a writer best known for his Horse Operas. Grey proved that he could write a contemporary novel the equivalent of anything Sinclair Lewis or Theodore Dreiser would produce.
Frontpiece from the 1935 signed edition of Thunder Mountain
Wanderer of the Wasteland is a riveting story about Adam who flees his life to seek refuge in the desert where he wanders for years, meeting strange characters, and coming to grips with his past. Grey ponders man’s often violent nature, relationship with women, and offers a conclusion that is truly a “surprise ending.” Another, The Rainbow Bridge is the sequel to Riders of the Purple Sage and among the few of his novels that scholars agree has literary value. Greys work is too often dismissed as winsome fabrications, but I’ll argue that Grey captured the spirit of those Westerners who forged ahead to tame the land. The critics were hard on Grey from the onset, and remain critical of his work. Critic Jonathan Miles, writing in his The New York Times review of Thomas H. Pauly’s 2006 biography on Grey, falsely stated that “Grey was a profoundly bad writer who combined mawkish sentimentality with geographic fabulism.” Miles is miles off-base, and misses the point that Grey’s sentimentality is part of what strikes a chord with readers. There is nothing wrong with sentimentality. Grey expressed those moments beautifully. If anything, Grey was a profoundly intuitive and insightful writer who framed his stories with tales of heartache and loss, creating portraits that might have been culled from any family album.
I agree that some modern readers will struggle with Grey’s use of phonetic spellings to mimic a drawl or accent, and the melodrama is at times clichéd, and the dialogue simplistic. These are, however, not valid reasons to dismiss his work. I suspect part of the problem lies in the cultural changes that make Internet haters all feel empowered to say something negative rather than positive. This has always been the weakness of American literary critics, of which Jonathan Miles represents the common hack. Zane Grey’s readers and fans exist because he fulfills a need, and he told great stories. It really is that simple.
The Heritage of the Desert is a personal favorite, and a novel that many fans agree is among Grey’s best. The tale of Jack Hare, and his trials and tribulations is melodramatic, rambling, and often epic; it involves land grabbers, Indians and Mormons, is vividly drawn, and packed full of excitement. Yet another, The Lone Star Ranger is well known among Grey’s fans and clearly the inspiration for the character created by Fran Striker and George W. Trendle for radio in 1933, and who, as you know, was later epitomized on television and in films by Clayton Moore. Grey’s The Lone Star Ranger was published in 1915 to immediate success. It’s a good book, but the unexpurgated manuscript, published in 2008 by Leisure Paperbacks as Last of the Duanes, is a masterpiece.
There are so many other examples of Grey’s fine novels, that readers today will have no difficulty in finding either modern paperback reprints or e-books on Kindle. Although Westerns were Grey’s bread and better, he ventured into non-fiction with books like Roping Lions in the Grand Canyon, Tales of Southern Rivers, Tales of Fishing Virgin Seas, Tales of the Angler’s Eldorado-New Zealand, Tales of Fresh Water Fishing, and Tales of Tahitian Waters all which added to Grey’s popularity. A few juvenile novels, especially those dealing with baseball, round out Grey’s enormous literary output. The Shortstop and The Young Pitcher evoke Grey’s love for baseball. He was a minor league player prior to becoming a novelist, and this fact, too, adds another layer to the depth of his extraordinary life.
I believe what is lacking here is a comprehensive, academic appreciation of Grey’s novels. The critics may not like him – they never have – but readers are always connecting with Zane Grey because his appeal is universal. The rule I follow, and that was a driving force behind my Errol Flynn biography (which took me ten years of research and writing) is that one should not write about historical figures unless you truly appreciate their contribution. Write about what you know and what you love. That’s what Zane Grey did. It’s also vitally important to understand the era in which Grey lived, and that our cultural history shapes us all, like it or not. We cannot distance ourselves from the landscape we inhabit, and Zane Grey was a product of his time.
His influence is far-reaching. Commencing in December 1946 and released sporadically through the early 1970s, Zane Grey’s Western Magazine published original stories by new authors and the occasional reprint of a Zane Grey Story. Grey’s stories continue to influence both writers and filmmakers, and many of his books have never gone out of print.
In 2009, when I was in Hollywood to attend Errol Flynn’s centennial at filmmaker Jack Marino’s home, my wife and I made a side-trip to Catalina Island. It was a foggy morning, and as the boat rocked across the sea I waited for a glimpse of the island where Zane Grey had made his hideaway. At length, the island appeared to rise from the mist; a primordial sight of steep hills and deep underbrush, wild and somehow forbidding. When the sun burned away the fog the heat set in, and we wandered the shops and small streets of Avalon. Finally, I set my gaze on the white pueblo wall visible on the hillside, and we made the trek on foot through a blanket of heat to the Zane Grey Pueblo Hotel, his former home turned tourist destination. It was easy to understand why he chose this hilltop location for the home that was completed in 1926. The view of Avalon Bay is breathtaking, and from here Grey could indulge his love of deep sea fishing.
I lingered awhile and wandered the halls and verandas. It was a quiet day, with little activity in the hotel. I had a sense that this place offered serenity to Grey, and given his self-induced hectic lifestyle, I realized that this island patio overlooking the sea must surely be the place where Grey’s spirit wandered today. Just a swiftly, I realized I was wrong, for while Zane Grey’s presence could surely be felt, his was a spirit that acknowledged no boundaries. He was there, perhaps but briefly, and then in a swirl of a salt-tinged sea-breeze and sunlight, he was gone.
Copyright © 2017 by Thomas McNulty
All book and magazine cover scans are from the author’s collection.
Arizona Ames quotations and page numbers are from the Walter Black edition.
Click HERE to visit Zane Grey's West Society Web Page
Sunday, August 13, 2017
There is scarce on-line biographical material for Enid La Monte Meadowcroft (1898-1966), although her many books are fondly remembered by her readers. She appears to have been an editor at Grosset & Dunlap, working on their “Signature Books” line of historical novels for young readers. Grosset & Dunlap published these novels during the 50s and 60s. These titles were penned by many authors, Meadowcroft included. The 51 titles in the “Signature Books” line are collector’s items today. Meadowcroft published at least 60 books including The Story of Crazy Horse, Silver for General Washington: A Story of Valley Forge, By Wagon and Flatboat, Holding the Fort with Daniel Boone, and The Story of Benjamin Franklin. Several of her titles were republished by Scholastic Books in the 1960s. I own the Scholastic 1963 edition of By Secret Railway, published at a time when “Civil Rights” was relevant to all Americans. By Secret Railway was originally published in 1948, and experienced an active re-publication life. This is historical fiction, and great liberties were taken with actual figures such as Abraham Lincoln. That distinction is important because Meadowcroft never intended to rewrite history to justify a theme or agenda, which is the trend today by such hacks as Newt Gingrich. In By Secret Railway, twelve year old David Morgan sets out to help a runaway slave named Jim Clayton find his way to freedom. The novel plays fast and loose with the “Underground Railroad” and generally sanitizes history for younger readers. The point is obviously “Civil Rights” without stating this explicitly. Jim and David become friends. The writing is clear and unencumbered, easy to read with strong characterizations. By Secret Railway was once a pre-eminent title for Scholastic Books and widely available. Copies of the various editions are easy to locate on-line. Recommended.
Friday, August 11, 2017
My introduction to The Shadow came in 1969 when Bantam paperbacks reprinted the first novel. I’m sure by now all of you know that the author, Maxwell Grant, was a pseudonym for the legendary Walter B. Gibson. I was vaguely aware of The Shadow by this time, but had never read any of the original pulp magazines. I was already heavily into the Bantam Book’s Doc Savage reprints, and I had some basic knowledge about the pulp era. The Living Shadow was one of those books where I thought to myself, “I want to write like that!” Gibson layered his prose with strong images and swift action. Unlike Doc Savage, The Shadow had no qualms about blasting a villain apart with his dual smoking hot .45 automatics. The Shadow lived in a world of dark alleys; this was Old Manhattan, and there are thugs and con-men and villains with murderous intent. In this premier adventure, The Shadow is assisted by the young Harry Vincent and brainy Claude Fellows who help him unravel the secret of some recent murders. Re-reading the story today, the plot is convoluted and hasty, which wasn’t unusual for many pulp stories. These are features that were cranked out in a few days. The basic premise has The Shadow and his agents solving the murder of millionaire Geoffrey Laidlow. This is also the first of many Shadow stories that features an Asian as the villain, in this case Wang Foo. The Shadow would visit Chinatown many times in his long career. Walter Gibson was a master at creating mood, and his characters, while considered stereotypical by today’s politically correct standards, are fully realized and often complex. The Shadow himself is a mysterious, almost supernatural figure. His identity would undergo a metamorphosis as the series progressed, but not always effectively. Gibson reportedly wrote 282 out of the 325 original Shadow novelettes. I haven’t read them all, but I’ve read a lot, and the pacing is consistent, the action relentless, the plot twists implausible but fun to read. For many years The Shadow stories have been reprinted by Sanctum Books as double-editions, and many of these have become collector’s items themselves. The Sanctum Books reproduce the original covers and interior illustrations and shouldn’t be missed by fans of classic pulp fiction. Those Bantam Books Shadow paperbacks remain favorites of my collection. Bantam followed with, The Eyes of the Shadow, The Shadow Laughs, The Death Tower, The Ghost Makers, Hidden Death, Gangdom’s Doom, and more.
Tuesday, August 8, 2017
Iain Lawrence writes books that are treasures for the literati. The Giant-Slayer is not a children’s book in the traditional sense, and yet certainly young readers will understand it. It is also not a contemporary adult novel, although its topic and themes have resonance in our frightening adult world. Published by Yearling in 2009, The Giant-Slayer and other Lawrence books are all fascinating books. The topic here is polio. Although polio (Poliomyelitis, an infectious viral disease that sometimes results in paralysis) is no longer prevalent, it still exists and there is no known cure.
does not approach polio with rose-colored filters. In the spring of 1955,
Laurie Valentine learns that her friend Dickie Espinosa has polio and she
decides to visit him in the nearby hospital. Dickie and two other children are
inside an iron lung. The Iron lung treatment was once common, sealing the
patient in an airtight container which assisted with lung function. Dickie is a
fan of Fess Parker and his coonskin cap is hanging in view as a means to
comfort him. The historical background and cultural references add another
level of depth to the narrative. Laurie decides to tell Dickie and the other
children stories to help pass their time. The ensuing narrative structure
alternates between the fantasy world Laurie creates, which becomes incredibly
real to the polio-stricken children, and the very harsh world where Laurie
herself is at risk of contracting polio. The story is at times very sad, as you
would expect, but Lawrence
is such a fine writer that I’m confident most readers will be swept along by
this tale. I have read many of Lawrence’s
books and I treasure them all. Also recommended are Gemini Summer, The Lightkeeper’s Daughter, Ghost Boy and his “High
Seas Trilogy” – The Wreckers, The
Smugglers, and The Buccaneers.
NOTE: To avoid confusion when searching for his books on Amazon, Lawrence’s first name is
spelled with the double “i” – I. A. I. N. – rather than “Ian.”