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Saturday, April 16, 2011 ( 4/16/2011 11:59:00 PM ) Bill S.  “I THOUGHT FOR A MOMENT SHE WAS GOING TO THROW THE BOOK.” Though primarily known for his Perry Mason novels, prolific crime writer Erle Stanley Gardner also had another mystery series running many years. Written under the not-so-hidden pseudonym of A.A. Fair, the Donald Lam/Bertha Cool books were a private eye series told from the point of male detective Lam, who’s like a more compact version of Rex Stout’s Archie Goodwin. His partner, Bertha Cool, is a large and bellicose broad (early in the series, she’s described as weighing over 200 pounds; later she slimmed down to 165) who typically brings in the cases then steps back to let Donald do all the leg work -- occasionally bitching from the sidelines about his antics. If Lam is the series’ Archie Goodwin, Cool is its Nero Wolfe -- if that famous plus-sized detective never did anything.I read most of the A.A. Fair books when I was a ‘tween and futilely waited for Bertha to actually step and insert herself into a case, but it never happened in any of the books I read. The bulk of this twenty-plus volume series has long been out of print, but in 2004, Hard Case Crime reissued one of ‘em, Top of the Heap, perhaps in hopes of sparking a Cool/Lam revival. It didn’t happen, but when I recently happened to spy a copy of the paperback in a dollar store, I happily snapped it up. It’d been decades since I’d read one of these books, so I was curious as to how it would hold up. Heap, originally published back in 1952, turns out to be an agreeably intricate tale of murder, mining scams, money laundering and the inevitable west coast thugs. It beings when the Cool/Lam agency gets hired by a San Fran rich kid to find a pair of babes he reportedly spent the night with. The quest proves so easy that our hero Lam quickly suspects he’s been set up to bolster a phony alibi for the moneyed playboy, and, of course, he’s right. The rest of the book is devoted to Lam uncovering the crime which drove his client into trying to concoct an easily dismantled alibi -- and discovering who really committed it. In the process, our hero (as often happens in these books) is threatened with losing his p.i. license and manages to p.o. his partner after their irate client stops his check. Though it’s reprinted under the Hard Case ribbon, Heap isn’t a particularly hard-boiled book: there’s a brief moment near the end of the novel when our hero is knocked out and then held in the den of a casino-running gangster, but we never really worry that our hero won’t talk his way out of it. As with Gardner’s Mason novels, the emphasis is on opening up and examining the mechanics of a complex mystery, not any fisticuffs or gun play. Lam is a good guide to take us through the process, capable of both cracking wise and unashamedly revealing the chinks in his armor. There’s a moment in Heap when our hero curses his own body for breaking out in sweats that’s a particularly choice character detail. You don’t see a lot of hard-boiled dicks doing that Gardner knows his audience well enough to make sure he serves up the detective fiction basics, though: double-dealing clients, dangerous dames (one ex-stripper, two single girls on the prowl, plus a casino girl), plus a cop who both aids and threatens our hero. As a writer, Gardner was never much for the long and lascivious description -- in the old days readers had to rely on paperback covers for a good sense of just how dangerous the ladies in the case looked. Hard Case’s reissue provides an evocative Bill Nelson cover showing a Veronica Lake type eying a roulette wheel and a furrow-browed guy who could be Donald Lam. No pic of our Bertha, of course, but, then, you knew there wouldn’t be, right? Be that as it may, I found that this nifty little paperback -- and its characters -- held up after all. Too bad Hard Case’s reissue plans stopped with Top. (First published on Blogcritics.) Labels: pulp fiction # |Wednesday, April 13, 2011 ( 4/13/2011 06:36:00 AM ) Bill S.  “MEDDLER, WE HAVE A LAW HERE SOMETHING DIFFERENT FROM WOMAN’S WHIM!” The 20th volume in editor Tom Pomplun’s series of “Graphic Classics” collections, Western Classics (Eureka Productions) boasts the appearance of two long-established comics names. Al Feldstein, known for his years as the artist/writer/editor for EC and editorship of Mad magazine, is represented by a lovely color illo accompanying a piece by cowboy poet Arthur Chapman, while Dan Spiegle, who once drew the “Hopalong Cassidy” comic strip, makes a substantial showing with a 16-page adaptation of an early Hoppy short story.If the presence of these two old pros serves to hint that the contents in the new graphic storytelling collection will be a trace more visually conservative than, say, some of the selections in Gothic Classics, that’s arguably in line with the material being adapted this time. Pomplun and collaborators are tackling some fairly straightforward tales of the American West, after all, not opening up the deranged nightmares of an E.A. Poe. That’s for the next “Graphics Classics” set. The book opens with a retelling of Zane Grey’s Riders of the Purple Sage, a core genre work that remains the popular western writer’s best-selling book. As adapted by Pomplun and illustrator Cynthia Martin, the piece is a respectful take on this dense western work, though at times the multiple threads from the novel lead to some dialog-heavy pages. Scripter Pomplun downplays one of the novel’s most striking features -- its use of Mormons as story villains -- the theme is still there for those who know to look for it. If Martin’s renderings of the cast and setting may occasionally look a bit too pristine, it’s in keeping with the early 20th century novelist’s style. A grittier, unshaven take on the genre can be found, surprisingly, in Tim LaSiuta and Dan Spiegle’s Hopalong Cassidy tale. For those who grew up on the clean-cut movie and TV versions of the character, this 1913 Clarence E. Mulford tale is a revelation: the original version of the character was rough-hewn and gimpy legged. Mulford’s “The Holdup” is a simple yarn about Hoppy and friends’ disruption of a train robber, but if the story is pretty basic, Spiegle’s art (which at times brought of memories of Jean Giraud’s magnificent Lieutenant Blueberry comics) is not. Ninety years old, and, damn, can that man draw. If, to these eyes, these two pieces are the highlights in Western Classics, the rest of the contributions are engaging. Ben Avery and George Sellas’ take on one of Robert E. Howard’s comic westerns is breezily cartoony, in keeping with the original, while Trina Robbins and Arnold Arre’s remake of Gertrude Atherton’s “La Perdida” (as with “Purple Sage,” a tale centering on a young beauty being lusted after by an older man) benefits from a strikingly visualized conflagration finale. David Hontiveros and Reno Maniquis’ version of Bret Harte’s “The Right Eye of the Commander” comes across a bit text-heavy, but Maniquis’ art beautifully captures the story’s western gothic tone. The book ends on two somewhat forlorn notes: “The Last Thundersong,” by John G. Neihart (adapted by Rod Lott and Ryan Huna Smith), where the author of Black Elk Speaks reflects on spiritual belief and the decimation of Native American culture, and Willa Cather’s “El Dorado” (Rich Rainey and John Findley) which charts the life and death of a Kansas wilderness town as seen by a stranded settler. A far cry from the more spirited genre works of Grey or Howard, but inarguably part of the American western experience. One of the consistent strengths of this series has been editor’s Pomplun’s ability to pull in both familiar and obscure works under each volume’s title theme -- and this entry is no exception. As with last year's Christmas Classics, Pomplun and his collaborators are playing at the top of their game. (First published on Blogcritics.) Labels: classics illustrated # | |
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