25 Years of WesternPulps

On April 23, 1999, I posted the first message on the WesternPulps email group, which I created that day on a platform called OneList. A couple of years before that, while attending a mystery convention in Dallas called Cluefest, I heard Bill Crider and Steve Brewer talking about something called Rara-Avis. That was my introduction to the concept of email groups, and shortly after that, I subscribed to Rara-Avis.

Eventually, I got the idea that there ought to be a group devoted to the Western pulps, and so I started one. That first message seems to have been lost in the group's migration from platform to platform over the years, but here's a quote from the second one:

Now that the list is growing a little, we need to get some posts on it. I recently read two Western pulp novels, both of them Jim Hatfield stories from TEXAS RANGERS: "Renegade Roundup" from the July 1937 issue, and "Terror Stalks the Border" from the September 1937 issue. Both are supposedly by A. Leslie Scott, writing under the Jackson Cole house-name. "TSTB" is definitely by Scott, who has such a distinctive style. Most of the time, "RR" reads like Scott, too, but there are a few passages that sound like someone else's work, perhaps an editor's. Or perhaps Scott rewrote another author's story that failed to pass muster. At any rate, they're both good stories and very enjoyable.

Now, a question, or actually a request. In reading Western pulp stories, please be on the lookout for an author who uses the word "Coltmen" instead of "gunmen". Whoever this author is, he wrote at least a couple of Hatfield stories ("Gun Harvest" and "Brand of the Lawless"), but I've never been able to identify him. His use of "Coltmen" is probably his most distinctive stylistic feature; I've never encountered it anywhere else except in the two stories mentioned above.

This list is wide open for discussion of anything related to Western pulps, including current Western novels that have pulp elements or influences. I'm a Western writer myself, and I know that many of my books have been influenced by my pulp reading.

In case you're wondering, the "Coltmen" author mentioned above was soon identified by my friend Jim Griffin as J. Edward Leithead, and I've read many of his stories since then and adopted several of his catchphrases as my own, an example of that pulp influence in my writing that I mentioned. Over the years, many, many such questions about authors have been answered on the list.

In its early years, the group was pretty busy, hitting its high in messages with 705 in February 2002. But this was just as interest in blogs was rising, and the activity tailed off. Then a few more years went by and Facebook and other social media took up even more of people's time and interest. WesternPulps became a fairly low-traffic group averaging less than a hundred messages per month, although there are still flurries where a topic engages the members' interest and the messages flow faster again for a while.

Early in the group's history, a reader named Kent Johnson joined and really added a lot of energy to the proceedings with many questions and comments, and he also uploaded a wealth of lists and other information to the group's files section. Sadly, Kent passed away after a few short years. Other early contributors who brought a great deal to the list were Todd Mason and Juri Nummelin, both of whom were also members of Rara-Avis, and the above-mentioned Jim Griffin, Western author and friend of long-standing. And they still contribute to the list, making them the longest active members other than myself.

OneList, the group's original platform, was taken over by E-Groups, which was in turn acquired by YahooGroups, which was WesternPulps' home for many years. Back in 2018, seeing that YahooGroups was soon going to be discontinued, I migrated the group to a new platform called Groups.io, where it continues to this day. (Rara-Avis, which has been around even longer, is currently on Groups.io as well.) By this point in social media history, email groups are practically pre-historic, of course, but I don't care. When I started WesternPulps 25 years ago, I never gave any thought to how long it would be around. I wouldn't have guessed that it would still exist two and a half decades and almost 30,000 posts later. But I decided several years ago that it will continue as long as I'm able to maintain it and there's a platform for it, even if it gets back to the point where I'm just sending messages to myself, as I was in the beginning. It's been a labor of love for a long time now, and I still love it. If any of you are interested in joining, it won't take up much of your time or clutter your inbox (it's low-traffic, like I said), and you'll have access to the group website with a huge amount of information about Western pulps and Westerns in general in the message archive, the files section, and the photo section. And you might have the answer to the next question somebody posts about a particular author or pulp.

The STAR WESTERN cover at the top of this post isn't a great scan, but it was one of the first, if not the first, image uploaded to the group. Thank you for reminiscing with me today.

Delilah Was Deadly - Carter Brown (Alan G. Yates)

It’s been too long since I read a Carter Brown novel, so I decided to pick up where I left off in Stark House’s reprinting of the original versions of the Al Wheeler novels published in Australia. DELILAH WAS DEADLY is the third book in the series and was never reprinted in the United States until this collection from several years ago.

In this one, Al is still developing into the character known so well to those of us who grew up reading the Signet paperback versions of the novels in the Sixties and Seventies. He still works for the police department of the unnamed city where the story takes place, and he reports to Commissioner (not Sheriff) Lavers. We have Sergeant Podeski giving him a hand instead of Sergeant Polnick. And Al is actually in charge of the Homicide Bureau in this one, having been promoted since the previous book.

Those differences are fairly minor. The case is the same sort that Al has tackled before and will again, many times. The body of a man who works as the social editor for a fashion magazine is found stuffed in a safe in the magazine’s office. He’s been strangled with a girdle. (If you’re wondering why a fashion magazine has a safe on the premises, it’s so that top-secret dress designs can be locked up.) Al decides to investigate the killing himself when one of the detectives assigned to the case is also murdered when he goes to search the victim’s apartment. More killings follow, as Al navigates a complicated plot involving a nightclub owner, a department store tycoon, an eccentric artist, and, of course, numerous beautiful young women, some of whom succumb to Al’s attempts at seduction.

Then, fairly late in the book, author Carter Brown, who was really Alan G. Yates, springs a pretty effective plot twist. The Carter Brown books were nearly always well-plotted, especially considering their length (around 40,000 words, I’m guessing). This one isn’t quite as complex as some but works well. Everything rockets along with lots of snappy banter, plenty of sexy hijinks, and enough action to keep things interesting. The title isn’t really justified until very late in the book and comes off as a bit of an afterthought by the author, but that’s it’s biggest weakness and it’s nothing to quibble about.

I had a fine time reading DELILAH WAS DEADLY and getting reacquainted with Al Wheeler. Luckily, I have plenty more of those Stark House triple volumes on hand, so I plan to get back to the series without much delay this time. These days, short, entertaining books are just what I’m looking for most of the time. If you want to give these a try, they’re available in e-book and trade paperback editions.

Sunday Morning Bonus Pulp: Science Fiction Quarterly, February 1955

I don't think I've ever run across an issue of SCIENCE FICTION QUARTERLY. This looks like a pretty good one. I like the dramatic cover by Kelly Freas, and there are some good writers inside: C.M. Kornbluth, Frank Belknap Long, L. Sprague de Camp, and a couple whose names are only vaguely familiar to me, Charles V. De Vet and Winston Marks. I don't own this issue, but if you want to check it out, it's available on the Internet Archive here. There are a lot of other issues of SCIENCE FICTION QUARTERLY posted there as well. I might have time to read some of them if anybody ever comes up with a thirty-hour day.

Saturday Morning Western Pulp: Texas Rangers, October 1952

This is a pulp that I own and read recently. That’s my copy in the scan, featuring the usual excellent cover by Sam Cherry. That guy must have been tireless. He turned out a ton of pulp and paperback covers, all of them fine work.

The Jim Hatfield novel in this issue of TEXAS RANGERS has been attributed to Joseph Chadwick. It begins with Hatfield receiving a mysterious assignment from not only his regular Ranger boss, Cap’n Bill McDowell, but also from the governor of Texas his own self. In a clandestine meeting at the Capitol in Austin, the governor tells Hatfield to go to Fort Worth, check into a hotel there, and wait for someone to contact him and use the code word “Alamo”. It’s an intriguing opening.

Before you know it, there’s a beautiful girl involved, too, and Hatfield finds himself on a vast ranch in the Texas Panhandle impersonating the grandson of the owner and trying to get to the bottom of a deadly plot against the old-timer.

Having read a number of Chadwick’s non-series stories, I can easily believe that he wrote this Jim Hatfield novel. The story is extremely violent and hardboiled, and Hatfield comes in for a considerable amount of punishment, both physical and emotional. Chadwick always put his protagonists through the wringer, so this fits right in with his work. With a different character, this would have been a terrific novel.

But as a Jim Hatfield novel, it’s terrible. Chadwick’s grasp of the character and the series is fine up to a certain point: there are appearances by Cap’n Bill and Hatfield’s horse Goldy, and he refers to Hatfield as the Lone Wolf fairly often. But again and again, especially in the second half of the story, Chadwick has Hatfield doing things that he just doesn’t do in the stories by most of the other authors who wrote as Jackson Cole. He’s slow on the draw, he gets beaten up too easily, he gets too involved with the girl in the story, and he even talks about maneuvering one of the bad guys into a position where it’ll be easy to kill him. Quite a few years ago, I read another of Chadwick’s Hatfield yarns, “Death Rides the Star Route”, and while I don’t recall the details, I remember being displeased with it, too. I suspect it was for the same reasons. I believe he wrote only one other Hatfield novel, and I have a hunch I won’t be reading it any time soon, if ever.

“Spring Storm” is a short story by the prolific pulpster Giff Cheshire. I haven’t read a great deal by him, but I’ve found his work to be a little inconsistent, with a lot of it on the bland side. This yarn about a cattleman trying to drive off a nester fits that description, despite the fact that there’s some action. One of the supporting characters, an old cowboy, is very well-written and also redeems the story to a certain extent.

“The Sheriff Buys a Ring” is by Julian Hammer, one of only two stories credited to him in the Fictionmags Index. The title makes it sound like a comedy, but it’s actually a fairly hardboiled tale about a secret in a lawman’s past coming back to haunt him. It’s no lost classic, but it’s not bad.

“Double Dick and the Widow Woman” also sounds like a comedy, and it is. The author is Lee Priestly, and it’s the fourth and final story in a short series about old prospector Double Dick Richards, who roams around his with burro and pet cat getting into various scrapes. This one features a young cowboy who trades in his horse for a motorcycle and an attractive widow woman who owns a ranch plagued by rustlers. Hijinks, romantic and otherwise, ensue. This story isn’t particularly funny, although it’s supposed to be, but it’s mildly amusing in places and a lot more readable than some Western pulp humor I’ve encountered.

Not surprisingly, the best story in this issue is by Gordon D. Shirreffs. His novelette “Apache Ambush” is set in New Mexico and Arizona during the Civil War and finds a young Union army lieutenant battling Confederate spies and marauding Apaches. There’s a beautiful young woman to rescue and a massacre of Union troops to prevent. A colorful old-timer who is a civilian scout is on hand to help out, too. Shirreffs keeps things racing along with plenty of gritty action scenes and does his usual excellent job with the southwestern setting. This is a suspenseful, thoroughly entertaining yarn.

Charles A. Stearns wrote mostly science fiction for the pulps and digests in the Fifties, but he turned out a few Western stories as well. “Duel at Sundown” in this issue is a short but well-written story about a young man, the son of a legendary lawman, trying to work up the courage to face his first gunfight. It’s an effective tale with a twist ending that I didn’t see coming.

Finally, “Men of Steel” is a late pulp story from the prolific A. Leslie Scott, writing here as A. Leslie. He had already started writing paperbacks and would concentrate on that for the next two decades. In this one, set on the Texas coast along Matagorda Bay, the hero is Sheriff Neale Ross, who is trying to track down a gang of sheep rustlers believed by the local Mexican herders to be ghosts because they wear Conquistador armor. It’s a similar plot to ones that Scott used many times, but the descriptive writing is vivid and the action scenes are great. It’s a minor but very enjoyable yarn. And it got a new life when Scott rewrote it as the first chapter and a half of his Walt Slade novel BULLETS FOR A RANGER, published by Pyramid Books in 1963. The hero in that version is Texas Ranger Walt Slade, of course, with Sheriff Ross becoming a supporting character. I own that novel but I don’t think I’ve ever read it. Maybe now I should.

I’d say that, judged as a whole, this is a below-average issue of TEXAS RANGERS because the Jim Hatfield novel just doesn’t work very well, and only the stories by Shirreffs and Scott are really outstanding among the backup stories. As always, I’m glad to have read it, but I hope the next issue I pick up off the shelves will be better.

A Rough Edges Rerun: Pushover - Orrie Hitt

(This post originally appeared in a somewhat different form on March 27, 2009.)

PUSHOVER is the story of Danny Fulton, a small-time con man who, along with a couple of partners, specializes in a scam involving community histories and the Federal Writers Project of the WPA (the first time I’ve encountered that particular angle in a novel about grifters). Most of this yarn centers around Danny, who narrates the novel, putting his usual scheme into action in a small city in upstate New York.

Now, PUSHOVER is not without its flaws. There’s not much action, and in fact, not a lot happens in the entire book. The big twist near the end is pretty obvious early on, and the ending itself seems a little forced and doesn’t ring completely true to me.

So, why am I recommending that you read it if you come across a copy? Because Hitt does a remarkable job of capturing the grubby desperation of these people, especially Danny and his two partners, one a young, beautiful blonde who’s separated from her husband, the other an advance man and salesman who misses his wife and family. All of them seem to be teetering on an emotional brink, and so do most of the people they encounter.

But Danny himself is the centerpiece of the book, and he’s one of the most interesting characters I’ve run across in a while. He’s so determined that he’s a heel who cares only about money that even when he does something nice for somebody, which is surprisingly often, he has to rationalize it to himself by coming up with some rotten motive. Then, when he does decide to give up his career as a con man, settle down, and get married, you just know that it’s not going to work out for him. I don’t know if Hitt or his editor at Beacon Books titled this book PUSHOVER, but it’s an ironically apt title. The cover copy makes you think that it’s all the women in Danny’s life who are the pushovers, but the description actually fits him even better.

Of course, as with all the sleaze novels of that era, the cover copy also makes you think this book is a lot spicier than it really is. There’s actually very little sex in it, and most of what there is falls into the “sin, suffer, repent” pattern that’s also common to the genre. There are also quite a few nice lines, some funny, some poignant. Since this is the first novel I’ve read by Orrie Hitt, I can’t speak for the entire body of his work. Sure, he wrote a lot of books for not much money ($250 to $500 was the usual advance . . . which is really not that bad for that time period), but PUSHOVER, at least, is not the work of a hack. Hitt gives his characters enough depth to make them memorable and does so in prose that’s fast-paced and very readable, despite a few unpolished moments. I’ll be reading more of his novels soon.

Now for the other thing that intrigues me about this book: the cover art. It’s nothing special, really, okay but not spectacular, but as soon as I laid eyes on it, I said to myself, “I’ve seen this cover before, but on another book. And the guy had an eyepatch!” That nagged at me ever since the book arrived in the mail. I had a feeling that I had owned a book with the same art, and that it was on one of those early Fifties digest-sized novels published by Star Guidance, Croydon, Original Novels, etc. Long-time paperback collectors know the sort of thing I’m talking about. So a few nights ago, I sat down and started searching for those publishers on ABE and checking out the listings that included cover scans. I never found the one I was looking for, but that jogged my memory enough so that I remembered Uni Books, another digest line that happened to be published by Universal Publishing and Distributing, the same outfit that later published Beacon Books. Then a name popped into my head: Steve Harragan. I seemed to recall that was the name of the author (well, the pseudonym, anyway) as well as the main character. I searched for Harragan’s name, and up popped Uni Books #44, SIN IS A REDHEAD. “That’s it!” I said. I never read it, but I remembered having that book, and I was almost sure it had the same cover art as PUSHOVER, only the guy had an eyepatch.

Well, I mentioned this to my friend Frank Loose, and wouldn’t you know it, he has a copy of SIN IS A REDHEAD and sent me a cover scan. As you can see, it’s the same painting, only the eyepatch is there in the earlier version, just as I thought, and there are a few other modifications in the paperback version, such as the keyhole motif. The artist is George Geygan, a prolific painter of paperback covers. Steve Harragan, by the way, was really a British author named William Macconnachie, or something like that, a little Internet research reveals, and SIN IS A REDHEAD was originally one of those Mushroom Jungle books.

(And if you don’t know what I mean when I use the term Mushroom Jungle, you really need to check out this book by Steve Holland and this web page by John Fraser, which is part of a fascinating and much larger site.)

(I've gone on to read many novels by Orrie Hitt in the fifteen years since this post first appeared, of course, and I've enjoyed every one of them. Some more than others, of course, but I'm not sure Hitt was capable of writing a book that wasn't entertaining. An e-book edition of PUSHOVER is available now, if you want to check it out. A couple of years later I read SIN IN A REDHEAD by Steve Harragan, real name William Maconachie, and reviewed it. Maybe I'll rerun that one next week, although I'm trying to stick to 2009 posts for the most part, figuring fifteen years is long enough ago that there'll be a significant number of new readers for them. I hope.)

Mansion of Evil - Joseph Millard and George Evans

Having read and enjoyed IT RHYMES WITH LUST, I decided to try this other early graphic novel with a crime plot, MANSION OF EVIL, published by Gold Medal in 1950. It was written by veteran pulp and paperback author Joseph. Millard, who years later as Joe Millard wrote the Man With No Name paperbacks for Award Books, novelizations and original novels based on the Clint Eastwood movies. Those were my introduction to his work. I don’t think the art on MANSION OF EVIL has ever been credited officially to anyone, but the consensus of opinion seems to be that it’s by George Evans.

A newspaperman plays a major part in MANSION OF EVIL, just like in IT RHYMES WITH LUST. In this case, it’s reporter Larry Brennan, who’s engaged to beautiful young Beth Halliday. Beth works at an art gallery that’s about to put on an exhibition of paintings by reclusive artist Maxwell Haimes. When Beth meets Haimes, he kind of goes nuts, thinks her name is Laura, kidnaps her, and takes her to his isolated mansion (which comes complete with sinister housekeeper). It becomes obvious pretty quickly that Haimes isn’t completely insane and has some devious plan in mind that includes murder.

Meanwhile, Larry is convinced that something has happened to Beth and is searching desperately for her despite the fact that nobody else seems to take him seriously. The whole situation, which includes a race against time scenario, reminds me of stories by Cornell Woolrich that I’ve read. It also seems to me that there’s some Bruno Fischer influence at work here, too. Whether or not Millard was familiar with those writers, I don’t know, but in MANSION OF EVIL, he’s crafted a story that has similarities to their work.

The artwork isn’t as good as Matt Baker’s in IT RHYMES WITH LUST, but it gets the job done. So does Millard’s lurid, breathless script, although it sometimes reads like it was adapted from a radio serial. It’s over the top and often driven by coincidences, but I still enjoyed it quite a bit. Scans of the book are available in various places on the Internet, or you can pick up an actual e-book version on Amazon.

Noose for a Lady - Gerald Verner

The murder has already taken place when this British mystery originally published in 1952 opens. Wealthy John Hallam has been poisoned, and his wife Margaret has been tried, convicted, and sentenced to hang for the crime. Her childhood friend, portrait painter/amateur sleuth Simon Gale, returns to England and discovers Margaret's plight when there's only a week left before the execution. Believing his old friend incapable of murder by poisoning, Gale sets out to uncover the actual murderer with the help of his younger brother and Margaret's stepdaughter. A local police detective who's not an idiot, for a change, also lends a hand.

NOOSE FOR A LADY is a top-notch British village mystery yarn with plenty of suspects (the victim was a cad and a bounder and half the people in the village had good reason to want him dead), a dogged detective, sinister lurkers, a second murder, and finally a gathering of the suspects where Simon Gale explains everything and reveals the killer's identity. It's suspenseful, well-plotted, and written in a fast, breezy style that's very entertaining to read. Simon Gale is a good protagonist with a hearty attitude and a fondness for beer and his pipe. There are two more novels about him, and I think there's a good chance I'll read them.

Gerald Verner, who was born John Robert Stuart Pringle, was a prolific author of mysteries and thrillers who wrote quite a few Sexton Blake yarns under the name Donald Stuart. I read one of them not long ago and enjoyed it a great deal, so I sought out something else by him. NOOSE FOR A LADY is considered one of his best novels, so I started there. It was based on a 1950 radio serial Verner wrote for the BBC. The novel is available from Amazon in e-book and paperback editions, and if you're a fan of British mysteries and Golden Age detection, I think it's well worth reading.

Sunday Morning Bonus Pulp: Pirate Stories, March 1935

I don't believe I've ever run across a mention of PIRATE STORIES before. It was a short-lived adventure pulp edited and published by Hugo Gernsback of AMAZING STORIES fame. This is the third of six issues. I like the cover by Joseph Sokoli. The idea of airborne pirates preying on ships at sea is an interesting one. The feature story in this issue is by Captain Dingle, an author I've been meaning to read for a long time now but still haven't. Backing it up are yarns by the always dependable J. Allan Dunn, George Allan Moffatt, and an author I'm unfamiliar with, J. Winchcombe-Taylor, who certainly has a distinguished-sounding name. I may have to steal that for a character one of these days.

Saturday Morning Western Pulp: Dime Western Magazine, January 1946

This is a pulp that I own and read recently. That’s my copy in the scan. My guess as to the cover artist is Robert Stanley, but I’m not certain about that. There are a couple of things about this one I don’t like—the guy’s hands and arms don’t look quite right to me, and neither does his holster—but overall it’s an effective cover.

I’ve said this many times before and probably will again, but Walt Coburn was really inconsistent in his work, especially in the second half of the Forties onwards. But he’s still one of my favorite Western authors because when he’s on his game, he’s really, really good. “Mail-Order Outlaw” in this issue is one of his really, really good stories. The cover calls it a novel, but at 16 pages, even with fairly small print left over from the war years and paper rationing, it’s more of a novelette. Even so, Coburn manages to give this tale of a young cowpuncher who falls in with a gang of bank robbers a bit of an epic feeling. The action is great, the protagonist is very likable, and the villains are despicable. It’s also more tightly plotted than many of Coburn’s stories, which tend to sprawl around and get melodramatic. The sense of authenticity is there as always. No matter how over-the-top Coburn’s plots could get, the characters and settings always ring true. This is a superb story, one of the best by Coburn that I’ve read.

I don’t know much about Michael Oblinger, just that he wrote several dozen stories for various Western pulps. His short story “Hell-on-the-Hoof” starts out with a horse identifying a killer, but that’s just the opening act in a very convoluted tale about an accused murderer hunting down the real culprits. I didn’t think this story was well-written and didn’t care for it.

Since the cover date on pulps was the off-sale date, that means this January 1946 issue of DIME WESTERN was actually on the stands in December 1945. Accordingly, there’s a Christmas story included in the line-up, the novelette “Colt Christmas at Bitter Creek” by Rod Patterson. Last year I read a pulp yarn by Patterson that I enjoyed quite a bit, as well as his novel WHIP HAND, which I found pretty flat and uninspired. Now that I’ve read this story, I’m starting to suspect that Patterson was better at less than novel length. “Colt Christmas at Bitter Creek” is about the showdown between two feuding ranches during a blizzard. It’s well-written, moves right along, and has a nice hardboiled tone. I still want to try more of Patterson’s novels, but I’ll be keeping an eye out for his pulp stories.

Charles Handley is another forgotten pulpster. His story “The Devil’s Sky-Pilot” is a short-short about an outlaw-turned-preacher—or is he? The twist ending in this one is pretty predictable, but it still works and the story is fairly entertaining.

Tom W. Blackburn often wrote stories that weren’t about the usual cowboys, outlaws, lawmen, etc. The protagonist of the novelette “Battle Call For Big-Wheelers” is a partner in a freight company located in a Sierra Nevada mining boomtown. Double-crossed by a man he considered a friend, framed by a rival for murder, Cole Banning finds himself in a mighty deep hole and Blackburn just keeps piling more trouble on his head until I honestly wondered how in the world Banning was going to get out of this mess. But he does, and although the resolution might have been just a tad too quick and convenient, this is still a really good story with interesting characters, strong writing, and plenty of action. Blackburn’s work is nearly always good and this one is no exception.

John Richard Young wrote a couple of dozen Western and adventure stories for various pulps in the Forties and Fifties. His story in this issue, “Law of the Blizzard-Born” is an animal yarn about an old hunter stalking a wolf. This type of story with little or no dialogue and some, if not most, of the story written from the point of view of the animal is one that I just have trouble reading. I wound up skimming this one and didn’t like it.

The novelette that wraps up this issue, “The Phantom Hangman of Yellow Jacket”, is another mining camp story. Somewhat unusual for a Western pulp, it’s also a murder mystery as a ruthless vigilante known as The Citizen is killing people in the camp for no apparent reason. The son of a mine owner who is one of the victims returns from San Francisco, where he’s been something of a wastrel, to grow up and get to the bottom of things. As it turns out, this story isn’t a particularly strong mystery, but it does have a good protagonist and some nice action as it moves along at a fast pace. The author, Harry F. Olmsted, is one of my favorites. Olmsted was known to farm out some of his work, much like Ed Earl Repp, so there’s no way of knowing if some other author had a hand in this one. The story reads like the other Olmsted stories I’ve read, but that may be because even on the ghosted stuff, he did a lot of editing and revising. Regardless of the details, which we’ll likely never know, this is a solid, entertaining yarn.

Overall, this issue of DIME WESTERN MAGAZINE is quite a mixed bag. There are a couple of stories I didn’t like, but the others range from good to excellent and include one of the best Walt Coburn stories I’ve read. So I’d say that if you have a copy on your shelves, it’s well worth reading.

A Rough Edges Rerun: The Phantom Spy - Max Brand (Frederick Faust)

Instead of one of the Westerns for which Max Brand (Frederick Faust) is most famous, I’m writing about one of Faust’s espionage novels. THE PHANTOM SPY is set in Europe in the mid-Thirties, the era during which it was written. This isn’t a Ruritanian, Graustarkian, comic opera Europe, either. It’s the real thing, with the grim threat of Hitler’s growing power in Germany looming over everything. In Faust’s novel, however, Hitler isn’t even the real menace. The true villains are an international cabal of warmongers who think that Hitler isn’t moving fast enough and want him to go ahead and invade France right away. To further that end, they’ve managed to steal the plans for the Maginot Line and intend to present them to Hitler so that Germany can attack France’s defensive fortifications at their weakest points. (In reality, the Maginot Line didn’t pose much of an obstacle to the Germans a few years later, but Faust had no way of knowing that.) The British Secret Service sets out to steal the plans back before Hitler gets his hands on them, and the agent entrusted with the job is Lady Cecil de Waters, a British noblewoman who has offered her services as a “talented amateur” in the espionage game. (Yes, Emma Peel without John Steed is exactly what I mean.)

Giving Lady Cecil a hand is a would-be suitor of hers, wisecracking millionaire American playboy Willie Gloster, as well as a mysterious phantom spy known only as Monsieur Jacquelin who turns up when he’s most needed. Faust keeps the action moving along briskly as the characters take turns stealing the plans back and forth from each other, and in the process Willie and Lady Cecil uncover the plotters pulling the strings behind the scenes. Sometimes in his Westerns, Faust can get a little flowery and long-winded in his prose, but not here. This one cooks along in a breezy, hardboiled fashion with double- and triple-crosses, characters pretending to be other characters, fistfights and shootouts, and only occasional pauses for reflection. There aren’t many real twists to the plot – really, if you don’t figure out the true identity of the Phantom Spy early on, like when the character first appears, I’ll be surprised – but that doesn’t matter much because Faust is having so much fun, and so is the reader.

THE PHANTOM SPY first appeared as a serial in the pulp ARGOSY in 1937, under the title “War For Sale”. It was reprinted in hardback by Dodd, Mead in 1973 and then in paperback by Pocket Books in 1975, when Pocket reprinted a number of Faust’s non-Western novels. Both of those editions are available pretty inexpensively on-line. As much as I enjoy Faust’s Westerns, I’d really like to see more of his non-Westerns reprinted, especially some of the pulp serials that have never been published in book form. I believe he wrote a Revolutionary War novel that’s never been reprinted, and I’d love to read that one. There are several pirate novels, too, as well as numerous mysteries and contemporary adventures. If you’ve only read Faust’s Westerns, or if you’ve never read his work at all, give THE PHANTOM SPY a try. I really enjoyed it.

(This post originally appeared in a somewhat different form on April 3, 2009. Since then, a number of Faust's non-Western novels have been reprinted, and I really need to get around to reading them.)