Jan 302012
 
Last year, my pal and Femme Noir partner-in-crime, Joe Staton, landed the penciling gig on the Dick Tracy newspaper strip, and has continually knocked it out of the park artistically. If you haven't been following it in your paper (assuming there's a paper in your town that carries it) or online, you've really been missing out.

Yesterday another artist pal of mine, Terry Beatty, with whom I worked on the Mickey Spillane's Mike Danger comic book some years ago, took over the art chores on another long-running classic comic strip, The Phantom (Sundays)! The first installment (above) looks beautiful, and I know that Terry (and colorist Tom Smith) are only going to get even better as time goes by.

It's a shame that so few newspapers carry adventure strips these days, but it's good to know that two of the most legendary American comic strips survive in the talented and capable hands of my friends!
Jan 302012
 

PulpFest 2012 is now accepting registrations for our August convention. From our Registration page, you’ll be able to download our member and dealer registration forms, including ones that you can fill in and print from your own computer. You can pay for memberships and dealer tables through our Paypal Order page. You’ll also be able to book a room at the Hyatt Regency Columbus at the convention rate of $109 plus tax by visiting our special link to the hotel.

On our Programming page you’ll find our tentative schedule for the 2012 convention when we’ll be celebrating the centennial of Edgar Rice Burroughs’ Mars and the 80th anniversary of Robert E. Howard’s Conan of Cimmeria. You can read more about MIke Resnick, our award-winning guest of honor by turning to the GOH–Mike Resnick page. If you’d like to relive the first three PulpFests, you’ll find reviews, our blogs from previous years, and more. We even have a primer on pulp history!

All this can be found by clicking the buttons along the left side of our home page. And don’t forget, now’s the time to make your nominations for the 2012 Rusty Hevelin Service Award. Please send the name of the person that you’d like to nominate and a short paragraph describing your reasons for your nomination to Mike Chomko, 2217 W. Fairview St., Allentown, PA  18104-6542 or to mike@pulpfest.com. The deadline for nominations is April 30, 2012.

We look forward to seeing you over the weekend of August 9-12.

 Posted by at 3:47 am

Sam McCain E BOOKS!!!

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Jan 292012
 
http://www.amazon.com/Original-Sam-McCain-Mysteries-ebook/dp/B006UXVFV4/ref=sr_1_5?s=digital-text&ie=UTF8&qid=1327858866&sr=1-5


From The Seattle-Post Intelligencer Blog Critic

Perhaps no other author today has done so much to keep alive the “Pulp Fiction” genre than Ed Gorman. Not only as an award winning author ( Spur Award for Best Short Fiction, "The Face" in 1992. His fiction collection Cages was nominated for the 1995 Bram Stoker Award for Best Fiction Collection. His collection The Dark Fantastic was nominated for the same award in 2001. He has also been an archivist, historian and commentator. He has written in the fields of terror/horror, speculative fiction, western and of course hardboiled/crime fiction.

His Sam McCain novels are perhaps my favorites…but I have not only a soft spot for crime fiction but also a nostalgic bent for the ‘50s. McCain embodies all the traits we love of the hardboiled detective; he’s smart, quick with a quip, educated, but struggling for a buck, honest and honorable (at least to his own personal code), he’s personally brave, almost chivalrous, and like a bull dog at unraveling a mystery.

But, he is also dichotomous in that he is a little guy at just over five and a half feet,and, thus, not one to quickly get in a fight. He was never a cop or a soldier, doesn’t “really” hate authority, has dinner at least once a week with mom and dad, loves rock and roll, not jazz, isn’t a big drinker. Instead of that ‘30s – ‘40s fedora wearing, zoot suited PI, driving a Model ‘A’ or some other piece of Detroit iron with running boards, McCain loves ‘50s hotrods. McCain is a recent law school grad who gets his PI license to make ends meet and broaden his prospects.

Also, to break the mold of most pulp/hardboiled crime fiction, his mysteries don’t take place in a large city (L.A., Chicago, N.Y. or their fictionally renamed likenesses). Instead, the stories take place, mainly, in a small Iowa town where McCain grew up. And to further break the mold, the crimes McCain ends up investigating aren’t stolen pearls or bank robberies, or the theft of historical artifacts. They are crimes to take the sheen off of the nostalgia shown in the popular media for the ‘50s. This isn’t Happy Days. This isn’t American Graffiti. This is not the ‘50s of Ozzie & Harriet and Father Knows Best.
Instead, Gorman takes for his themes the real crimes of the fifties. Gorman writes about the social ills of the decade, some of which are still with us today. Racial inequality and bigotry, male chauvinism and the lack of women’s rights, union busting, red baiting and McCarthyism and the large parts of the country that were still in the grips of poverty.

Yes, boys and girls, our country had bigger problems than Elvis getting drafted, the Edsel, and getting a date for the sock hop on Saturday night.

Here’s Gorman’s words: “Part of the reason I started writing the Sam McCain novels was because I was sick of hearing about how wonderful the decade of the Fifties was. …. By then even the Republicans knew better. If you were white, Christian, middle-class, straight and white collar the decade was probably more decent to you than not. But given the racism, sexism, Communist witch hunts, union-busting and large pockets of poverty, not even Ozzie’s dopey smile could make the excluded Happy.”

Now don’t get the idea these stories are sermons. They aren’t. They just deal with ‘the real picture’ of the decade that is often painted as the American Ideal. The books, while remaining great mysteries and giving a long over do update to the genre, are humorous and Sam’s dialogue is as sharp an cynical as Phillip Marlowe’s. The mysteries are as puzzling as anything in the genre, the characters are very real and very true to their time and place, and he manages to expose social ills as well as Dashiell Hammett. In short, Ed Gorman is one of the gems in these fictional fields.

In this edition, Genius Book Publishing has made available the first two Sam McCain Novels in one Special Kindle Edition.
The first novel is titled, The Day The Music Died, and is set against the backdrop of the tragic plane crash in Iowa that took the lives of Buddy Holly, Richie Valens and The Big Bopper. The story opens with McCain and his high school sweat heart,Pamela Forrest, leaving The Surf Ballroom, having just witnessed Holly’s last show. They get in McCain’s ‘51 Ford convertible with the custom skirts, louvered hood and special weave top. With that description, Gorman take’s the genre out of the jazz age and into the world of rock and roll.

On the trip home to Black River Falls through the same snow storm that would kill the legends, McCain and Pamela argue over the radio station, she wants to listen to Perry Como, and McCain loves Buddy Holly. Pamela is also in love with someone else, but McCain will carry his flame for her through the snow storm and through the series, just like he has since the 4th grade.
The next morning about 5 a.m McCain gets woken up by his employer, Judge Esme Anne Whitney, a wealth scion of the small town. Her nephew is hold up on his estate, drunk and threatening suicide. McCain is to keep it quiet since the local Chief of Police is the new money in the town and the enemy socially and politically of the judge. When McCain arrives and makes his way inside, he discovers that Kenny’s wife is dead, shot, and Kenny admits to shooting her, then promptly kills himself.

Before putting the gun to his head, Kenny admits to the murder. He tells McCain that Susan was running around on him and wanted a divorce, he got drunk and must have shot her. But after Kenny kills himself, the story and the evidence don’t add up for McCain even though the local chief, the “hillbilly’ Sykes, wants to gloat over a Whitney being a wife murderer and a suicide.
McCain starts to investigate and along the way to solving the mystery he uncovers the prevalent racist attitudes of the town, tries to discover an unsafe abortionist who just may be involved, a cultish artistic couple and their “open marriage” all the while pursuing Pamela while being pursued by a girl who has loved him just as long as he has loved Pamela.

The plot is beautiful, and introduces the reader to McCain, an honest voice of the ‘50s and one of the smartest and most likable PIs you’ll ever meet. Gorman’s writing style will trap you, even if you don’t want to be trapped. The Day The Music Died is both dark poetry and a great, engrossing read.

The second book included in this bundle is Wake Up Little Susie, and is really a prequel, taking place 2 years earlier, in 1957 on the day that Ford Introduced its new "revolutionary" Edsel automobile. When the district attorneys wife is found in the trunk of a new Edsel in the local car lot, McCain follows the clues to uncover the real killer while the local police try to discourage him, and aim to ‘hang’ the obvious suspect which will feed their political needs as well as their cruelty and small mindedness.
If you are familiar with Gorman then you’ll want to get these two books in eBook form, and if you haven’t read him before, then this is the perfect opportunity to dive into one of the best crime writers working today.

The Original Sam McCain Mysteries
Ed Gorman

Buy New
Jan 292012
 


Ed here:n ANOTHER AMAZING ISSUE PACKED FULL WITH SEVERAL MAJOR ARTICLES AND INTERVIEWS!

CINEMA RETRO ISSUE #22 NOW SHIPPING WORLDWIDE! ...
Celebrating Films of the 1960s & 1970s
CINEMA RETRO ISSUE #22 NOW SHIPPING WORLDWIDE! CINERAMA CELEBRATION ISSUE!
Cinema Retro enters its eighth great year with issue #22, now shipping worldwide. All subscribers will be receiving their copies shortly.

If you have not renewed your subscription, please do so today! We cannot hold copies in reserve for you, so don't miss out on a single great issue during 2012. Click here to subscribe instantly through our Ebay affiliate store or click here for other methods of subscribing.

Highlights of issue #22 include special features that celebrate the 60th anniversary of Cinerama:

Sir Christopher Frayling provides a major 10 page article on the making of MGM's Cinerama blockbuster How the West Was Won, featuring deleted scenes and a wealth of rarely seen photographs.
Howard Hughes pays tribute to Jack Cardiff's 1968 gut-busting adventure Dark of the Sun (aka The Mercenaries) starring Rod Taylor
Dave Worrall blows the lid off the 1969 Cinerama epic Krakatoa, East of Java and takes us behind the scenes for the Cinerama family classic The Wonderful World of the Brothers Grimm.
Thomas Hauerslev takes us back to those wonderful Cinerama travelogues This is Cinerama, Seven Wonders of the World and traces the history of the format.
Lee Pfeiffer reviews a plethora of spy movies on DVD including The Man From U.N.C.L.E. feature films
Adrian Smith interviews actress Anneke Wills, star of the mod London cult classic The Pleasure Girls and pays tribute to Jane Asher in Jerzy Skolimowsky's Deep End
Raymond Benson looks at the best films of 1981
Gareth Owen revisits the filming of The Great Gatsby at Pinewood Studios
Plus the latest DVD, soundtrack and film book reviews

David Milch’s “Luck” hits the HBO trifecta

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Jan 282012
 


Ed here: I'm really looking forward to this.


David Milch’s “Luck” hits the HBO trifecta
Dustin Hoffman stars in the next great series from the creator of "Deadwood" and "John From Cincinnati"
BY ROGER CATLIN

Dennis Farina and Dustin Hoffman in "Luck" (Credit: HBO)

TOPICS:TELEVISION, HBO, DAVID MILCH, EDITOR'S PICKS
HBO has always been a good place for the literary-minded David Milch, the brainy former Yale lecturer. (Of course, the networks weren’t bad either; Milch created “NYPD Blue” while still working on “Hill Street Blues.”)

Milch conceived the richly detailed retooled western “Deadwood,” with characters spouting the prosaic and profane. If “Deadwood” ultimately didn’t have an ending, Milch’s next project, “John From Cincinnati,” almost didn’t have a beginning; the spiritual metaphor set in the underbelly of the surfing world lasted just a season.

With “Luck,” which begins Sunday on HBO, he’s got a better shot at longevity, while still creating groups of scruffy underdogs in seedy motels and grandiose, malevolent businessmen all buzzing around the same goal. In “Deadwood,” it was gold; in “John,” spiritual enlightenment. In “Luck,” it’s the hard-won riches and redemption captured through the majesty of horse racing.

Creating these various worlds means creating their own language and jargon, something Milch is especially adept at doing (or perhaps he’s so subsumed in the world of the track after his own years hanging out there, it’s second nature). All of these terms and vocal shorthand can be off-putting to audiences at first – especially when they’re mostly mumbled by the characters.

for the rest go here: http://www.salon.com/2012/01/28/david_milchs_luck_hits_the_hbo_trifecta/
Jan 282012
 

Small Town Murder Songs is an expertly crafted Canadian noir written/produced/directed & edited by Ed Gass-Donnelly. In the 50's it might've been a Western, and if American could've been set in Pennsylvania or perhaps Kentucky. But it's out in a rural Canadian province that a naked woman is found strangled. Though this film is no murder mystery more a redemptive noir character study of Walt (Peter Stormare) the local police chief.

It opens with a memory of the disgust and disappointment of his girlfriend Rita (Jill Hennessy) to a brutal incident where Walt's violent nature was exposed, shown in a single pan against the fierce primitive pounding chorus of the folk/gospel soundtrack declaring "You cant hide! You cant hide! You cant hide! ... Who you are!" The shot ends with Walt divided by darkness and light shocked by his loss of control. This defining moment reappears and is alluded to throughout the film.

There seems no professional repercussions but he is personally humiliated and haunted by the incident which resulted in Rita leaving him and he is now shunned by his Mennonite family.

"We can't abide this kind of violence, wasn't how we was raised."

Walt has embraced religion and seeks a clean start through baptism. But this is an "old order" religion long on severity, short on forgiveness. "You cant change who you are, but you can act against your impulses … be what kind of man you chose to be."

In this rural town police work consists of small tasks like manning the speed trap where he snags Steve (Stephen Eric McIntyre), Rita's new boyfriend, an ex drug dealer who now hauls trash which Walt suspects he dumps illegally. Steve has a toothy rodent grin and a motor mouth with which he taunts Walt. "You're no different than you was!"

Next morning Walt is called to Point Beach where a dead woman is found. This is such a shock to their small town sensibilities that a deputy openly weeps. Since there hasn’t been a murder around here in decades a detective from the OPP (Ontario Provincial Police) is sent to head the investigation. Washington is a cold professional who views them as bumpkins. When reports seeing Steve dumping something here on Sunday while out fishing on the lake. Washington dismisses it since Walt was too far away to get a license plate or actually identify Steve.

When they listen to the 911 call they recognize Rita's voice, so Rita and Steve are brought in for questioning. Walt declines to sit in on the interrogations as they "have history." Rita alibi's Steve, saying he was home all night. They try to ID the victim and have no luck until they visit a nearby strip club and find out that not only was she a dancer there but Steve was there for "karaoke" that last night she worked. This means Rita lied for Steve. Walt tries to get her to tell the truth but an angry Rita points out, "What? it was okay to lie for you, but not him!" Walt leaves furious but the memory of his ferocity during the incident sobers him. On the TV news its announced that due to a triple homicide and upsurge in biker activity OPP resources are being pulled from the woman's case. On local talk radio citizens are asking "Who's going to stand up for her? Who's going to do what's right?" The next morning Walt's Father who hasn’t spoken to him since the incident tells him, "Well I guess it's up to you."

At work he finds Steve's complained of harassment and the OPP detective accuses Walt of ruining the case and orders Walt to stay away from the couple.

Walt has to take the victim's mother to the morgue to ID the body. The grieving Mother tells him, "If it was a dog they'd put him down. Is that fair? Is that justice? ...or is it just a waste of time? ... Still wont have my Melly..."

Walt feels the pressure and increasing responsibility weighing on him.

Walt's present girlfriend Sam (Martha Plimpton) is a gentle good-hearted waitress. The day before over dinner the thought of the poor murdered woman brought her to tears and she asked Walt to join hands and pray with her. As they prayed Rita and the incident came to his mind. She tells how the town gossip says the victim had it coming, but Sam tells him, "I know you're treatin' her like a lady, doin' your best to find who done it!" This moves Walt to weeping which so frustrates him he pounds the table in anger, which scares Sam away.

Knowing he must do something he drives to Rita's and again tries to get her to tell the truth. She rages at him and Steve comes out hurling abuse, "You're embarrassing yourself! Pathetic!" and threatening Walt with a bat. They begin to tussle and Walt takes the bat and is about to bash Steve brainless when Rita's cry of "Walt! No!" freezes him. And maybe he didn’t listen to her before but he does now.

This allows Steve to jump up and begin to kick and beat Walt to the same folk/gospel song, "You Can't Hide! You Can't Hide!" Walt is now suffering the same type brutal beating as he gave in the opening incident. For Walt this has been a journey of grief and sorrow to expiation. Later in the empty church he's staring at the cross when his deputy finds him Walt muses, "I could've put'm down, but I'm not what I was." The Deputy tells him that Rita has turned Steve in.

The film begins in black screen with just an opening Biblical quote, and sections are divided by huge sized quotes like chapter headings. However the redemption in this noir comes to Walt not through baptism and the institution of the church but through a murdered woman and the women in his life.

Rita is the femme fatale, dark and surly. Sam is the “good woman”, blonde positive, empathetic. An interesting twist in this noir is that Rita shares the redemptive woman function, a role almost always exclusively belonging to the “good woman.” It's some kind of lingering love for Rita that fuels Walt's need for redemption and his concern that she "do the right thing." And he wants to take that angry repulsed look from her eyes.

There's a final scene where Steve sits in back of a cop car grinning sheepish at Rita who glares at him in tear stained anger. He gives this little boy shrug and widens his grin and she turns away, walking into her house. As the view tightens his smile fades and you see that even in this squirrely little noir the loser feels the loss of what it is to have fallen in Rita's eyes.



Written by Mike Handley



ERROL FLYNN – The Life & Career

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Jan 282012
 


ERROL FLYNN
The Life & Career
By Thomas McNulty
McFarland & Company, Inc.
369 pages


Yes, I know the title of this review column is Pulp Fiction and this review is straying off that thematic path.  I beg your indulgences, as this particular subject matter is near and dear to my heart thus influential in my own taste for action adventure literature. It will allow you a small glimpse of what shaped this reviewer in his youth.

Growing up in the 1950s, with the advent of television, I was a fortunate member of that generation that had access to old Hollywood movies in the comfort of my own living room.  Television was pretty much our story telling electronic babysitter and it was before it that I discovered the greatest cinematic swashbuckler of them all, Errol Flynn.
To this day I consider his 1938 “The Adventures of Robin Hood” one the all time great adventure romances ever made.  From the splendor of its Technicolor hues to the fast paced script and direction, the beautiful Olivia de Havilland as Maid Marian, the dastardly charming Basil Rathbone as the villainous Sheriff of Nottingham and of course Flynn as the quintessential Robin Hood.  You can imagine a preteen young boy being mesmerized by such a tale of action and adventure all propelled by a brutally handsome rogue who, against all odds, would win both his cause and the hand of the fair lady.  It was heady stuff; the same stuff that all adolescent dreams are made of.

Over those formative years, I would soon come to enjoy and applaud Flynn in his other great swashbuckling sagas such as “Captain Blood”, “The Charge of the Light Brigade”, “They Died With Their Boots On” and another personal favorite, “The Sea Hawk.”  That he was the idol of millions of young men around the world should come as no surprise to anyone who loves movies.  But like all fabrications, the older I became, the more fact, as delivered by the gossip rags, began to intrude on fiction and the real person of Tasmanian born Errol Flynn began to emerge in my awareness.  Learning the harsh reality that the actor was but a poor reflection of the heroes he portrayed on the silver screen was one of life’s bitter lessons to be learned.  Yet, despite these “truths” my fascination and admiration of his films never lessened.  After he passed away at a relatively young age in 1959, I often wondered who Errol Flynn really was.  Thanks to biographer Thomas McNulty, we now have the answer to that question in this remarkable, exhaustively researched book.

At last we have a complete telling of the man’s life, from his early days in Tasmania to his struggling school years in England and finally his return to the Land Down Under and the fateful meetings that ultimately led him to a career in action.  And as his personal journey zig-zags across the globe, so did Flynn’s love the sea and traveling.  We learn that throughout both his successes and failures, it was forever the siren call of the horizon that forever propelled him onward, always eager and curious to find that strange and exotic land beyond.  He was a self-taught philosopher, the talented writer and the cold and heartless womanizer all rolled into one complicated psyche.  He would spend his entire life trying to self-analyze and fathom that mystery until, in the end, he was resigned himself to truth that whatever answers exist, they are not revealed to us in this life.

As a biographer, McNulty accepts his responsibility to tell us the entire story of the man, not the screen legend.  He does so unerringly, often times clearly uncomfortable with the facts he is relating such the FBI’s voluminous files on Flynn and J. Edgar Hoover’s personal disdain for Flynn’s immorality.  Here are the stories of his alcoholism and even worst self-destructive drug addiction to heroin.  And yet this same lost soul remains a loving father devoted to his children.  At the same time McNulty dispels the countless myths and fabrications that were created by Flynn’s enemies while also denouncing the actor’s own tall-tales with which he often used as a shield against the ever intruding press reporters.  Here was a man who both desired and then despised his own celebrity.

“Errol Flynn – The Life and Career” is a truly amazing biography worthy of a place in any true film lover’s library.  Errol Flynn was arguably one of the greatest romantic actors ever to shine on that giant silver screen and his place in cinematic history has been shamefully underrated.  McNulty’s book goes a long way in correcting that wrong and argues soundly that more critical attention demands to be focused on this truly unique and talented man. Let’s hope the academic community is listening.

PUSH-UPS: Mike Dennis

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Jan 282012
 
So, what are you pushing right now?
My latest novel is called The Ghosts Of Havana. It's the second installment in my Key West Nocturnes series, in which I intend to lift the veil off Key West, revealing it as a true noir city, on a par with Los Angeles, New Orleans, or Miami (or even Manchester). The first novel in that series is Setup On Front Street, and it's done quite well. The Ghosts Of Havana, however, is just out. It's different in that it starts out as noir, but veers into thriller territory, so I call it a noir thriller.

What’s the hook?
It's a tale of old vendettas that will not die. I have a quote from David Goodis in the front that says, "Every man has an ax to grind, whether he knows it or not." That pretty well sums up the book.

And why’s that floating your boat?
There's a blow-'em-out twist toward the end which I had wanted to write about for years. I actually started a novel years ago which had this twist in it, but I couldn't get past the first 100 pages. I set it aside.

Then, when I was writing The Ghosts Of Havana, I remembered that dusty effort, so I modified it and it fit perfectly in the new book.

When did you turn to crime?
Crime fiction (thank God we're moving away from calling them "mysteries") was a natural for me, almost from the very beginning. It allows me to write about the human condition as I see it. That is, ordinary people, minor players in society, sometimes make bad choices and inevitably get caught up in the backwater of those choices. They find themselves in over their heads and occasionally cross the line. Who among us wouldn't do the same, given the same desperate circumstances?

Hardboiled or Noir, classic or contemporary?
I prefer noir, because of my answer to the previous question, but hardboiled is probably a close second. Classic and contemporary. Jim Thompson, David Goodis, James M Cain, and Gil Brewer are just a few of the great classic noir authors. Mickey Spillane, Raymond Chandler, and Dashiell Hammett are some of the top-caliber hardboiled writers. Nowadays in noir, you have Vicki Hendricks, Elmore Leonard, and James Sallis. Jonathan Woods is another one. And of course, Lawrence Block spans both noir and hardboiled, as well as classic and contemporary. He'll be around forever.

And, what’s blown you away lately?
Every Shallow Cut by Tom Piccirilli is the best thing I've read in a long time. It's a noir novella that is a standout work. I've also just reread Street 8, a superb, yet little-known, Miami noir from 1977 by Douglas Fairbairn. Every Florida crime fiction author has been influenced by this book in one way or another.

See any books as movies waiting to happen?
I would like to think White Shadow by Ace Atkins has a shot at becoming a movie. It would be terrific if they could re-create Tampa in the 1950s on the screen as vividly as Ace did on the page.

Mainstream or indie - paper or digital?
Indie. I toiled for years trying to get the attention of can't-be-bothered agents and editors. I had no insider contacts and I resented the fact that many of the agents, especially those who insisted on exclusive submissions, never took the time to reply. My first novel was traditionally published, but the four books since then are all self-pubbed. Each of them has sold more than my trad-pubbed novel.

Paper or digital? I prefer paper, but the fact is digital is taking over, and it cannot be stopped. Print isn't going away, though. It'll still be used extensively for books that don't translate well to digital, such as coffee table books, almanacs, atlases, and the like. If anyone has any doubts, just look at Amazon's sales of the Kindle in the months leading up to Christmas: one million a week.

Shout us a website worth visiting …
Of course, that would be http://mikedennisnoir.com

Finally, tell us any old shit about yourself …
For most of my adult life, I was a professional musician. I played piano and sang (rock & roll, rhythm & blues, country) for decades, during which time, I never held another job. Not many musicians can make that claim.

But when my musical career wound down, I backed away from it to become respectable. I turned to professional poker.

I played poker at the professional level for six years, doing quite well, even moving to Las Vegas to pursue it. One day, however, I came home from the Bellagio poker room to find an email in my computer informing me that a publisher was offering me a book deal on my first novel. From that moment forward, I never returned to the poker room. I had to develop a website, an Internet presence, and a promotional mechanism, all of which consumed my every waking moment.

About a year ago, though, I returned to my beloved Key West, where I enjoy year-round island life.
Jan 282012
 
This is another Popular Publications pulp, as you might guess by the yellow background and the red banner along the top of the cover. Popular really loved yellow and red. At this stage of BIG-BOOK WESTERN's existence, Ed Earl Repp is in nearly every issue. Of course, there's really no way to know who actually wrote those stories published under Repp's name, since he's known to have used several ghosts. The other stories are by Tom Roan, John G. Pearsol (both Popular Publications regulars), Larry A. Harris (who wrote for nearly all the Western pulp publishers), and a couple of authors I'm not familiar with, I.L. Thompson and Jack Bloodhart, which sounds like a pseudonym to me but quite possibly isn't. I like this cover because it continues the tradition that nearly every woman in the Old West had red hair and was handy with a shootin' iron.

Thought for the day

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Jan 282012
 
“I haven't laughed so much over anything since the hogs ate my kid brother.”
― Dashiell Hammett

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