Tag Archives: Dropping A Dime

Ron Goulart and the Two Jims

Ron Goulart

Ron Goulart is the spark that originally ignited the interest in pulp fiction and led to Dime Pulp. His The Hardboiled Dicks: An Anthology and Study of Pulp Detective Fiction (1967), Cheap Thrills, An Informal History of the Pulp Magazine (1972), and The Dime Detectives (1982) were a first serious and intriguing glimpse into the genre for these offices in the mid-80s. Prior to that, Goulart’s wacky sci-fi stories of tech gone wrong (notably robots) were diverting reading characterized by his penchant for goofball humor. Sadly, Ron Goulart passed away in January of 2022 at the age of 89.

Goulart was a prolific writer, historian, and proselytizer of pulp fiction and it’s emergent heir, the comic book. Writing under his own name as well as over a half dozen pen names, his novels and stories were an easy read, always with a little MAD comics edge, nothing too serious or violent, slapstick certainly. The grim shadow of “noir” did not often intrude in his easy going tales.

afterRon Goulart may be viewed as a lightweight by the toting crowd but the sheer volume of his engagement in the pulp/comic genre allows him to claim the turf he helped established. He was the author of over two dozen compendiums on comics and golden age pulp fiction illustrating the comic book’s emergence from the fantastic pulp genre and the Sunday Funnies. He wrote numerous futuristic novels that played off the unintended Schumpeterian and most often hilarious consequences of mechano-tech—he was the gleeful saboteur of a Popular Science future. Of the over two dozen nonseries novels, including Clockwork Pirates (1971), The Robot in the Closet (1981), and Now He Thinks He’s Dead (1992), most are of a whacky dysfunctional Murphey’s Law universe. His Barnum System series of novels is a planetary circus of its own with such titles as Spacehawk, Inc. (1974) and Galaxy Jane (1986) among numerous other linked and obtuse permutations his agile mind could hatch: Hail Hibbler (1980), After Things Fell Apart (1970). Goulart’s era was the twenty years span from the mid-70s to the early 90s in which he wrote under many pen names (Chad Calhoun, Zeke Masters, Jillian Kearny) as well as his own, collaborating on a range of projects in the pulp comic book genres which included penning Flash Gorden stories, Vampirella, and Avenger. In the 1970s, he wrote several novels based on Lee Falk’s The Phantom (“the ghost who walks”), a character incorporating  proto-super heroes, essentially Tarzan as Batman with a brace of 45’s, for Avon Books under the pseudonym “Frank Shawn”.

That he had a sense of humor about a dystopian future of robots and AI just made his stories all the more human and entertaining. He was not overshadowed by noir even though he worked on and wrote about the genre that engendered it. The cruel macho psychopathy of hard boiled prose was not his maître. Goulart kept it light, parodying the fantastic and sometimes brutal pulp genres of sci-fi and crime fiction. He was a hack in the good sense of the word, and epitomized an era’s liberality of imagination by the range of his output, well worth a wiki lookup. A playful satirist with a riotous sense of humor as evidenced in his Groucho Marx detective series, written after the turn of century, in presenting such pulp tropes as “Lord of the Jungle,” “Secret Agent,” “Master Detectives,” and “Private Eye” versions of Groucho with felicity and breezy Hollywood wit. Nor was he above writing for TV programs or penning bodice rippers under a woman’s name.

Goulart, as pulp historian, engaged in preserving a particular generic tone characteristic of an era of transition from pulp to comic book to graphic novel by being an active participant in that transition. His authoritative histories are gems of preservation and reference covering the parallel development of pulp publications and of illustrated storytelling in the form of comic strips and books. In his roles as pulp writer and scholarly aficionado, Goulart was a champion of the imagination and a real kick in the pants.

A timely Goulart retrospective is in order, a Goulart Omnibus (there is enough material for a couple collected volumes) at the very least! A festschrift, perhaps? The world needs to appreciate more of his sardonic wit. Pass the word.

The Two Jims

The two Jims, James Sallis and James Crumley (1939 –2008), could not be more different yet both represent a singular uniqueness in their stylistic genre, the crime novel. Crumley’s novels are full of gregarious bluster. Sallis’s novellas are thoughtful and subversive. Crumley’s actions and their aftermaths are full frontal view of violence’s consequences. For Sallis, what is depicted are the consequences of those actions as rueful denouements. A Crumley story usually contains enough material for at least three novels, wide ranging and galloping all over the place. They are a unique blend of the western and the private eye/finder of lost kids/kittens genre. Sallis says all he needs to say in the length of a novella. The language is precise and elliptical, Simenon-like, in evoking a mood.

James Crumley

James Crumley’s novels feature the characters of C.W. Sughrue, Viet vet drunk turned private investigator, and P.I. Milo Milodragovitch, each in their own adventures although they cross paths in the 1996 novel Bordersnakes. Crumley’s anti-heroes are both big men with big personalities and essentially mirror images of each other. Not that it matters. What carries Crumley’s novels is the sheer bravado of his storytelling. Anyone who’s ever worked as a bartender has probably come across a character like Crumley, loud, raucous, and a genial everyone’s my friend demeanor. Until the booze runs out.

tree duckBoth PIs, Sughrue and  Milodragovitch are hard drinkers, and hail from the cowboy states, Texas and Montana, the author’s home turf. They are the giants from the north exacting their version of justice in a particularly cockeyed world. A natural born storyteller, Crumley spins tales of mishaps and bad luck death defying scrapes that are often hilarious in their telling but also tragic in their own right as a history of bad choices. His characters inhabit a world of regret and wounded psyches. Often times the graphic violence seems gratuitous, yet no one would doubt the authenticity of the pictures Crumley paints. Crumley’s is a world of right and wrong with a lot of leeway gray viewed from the other side of the tracks where there is honor of a kind among outlaws and where some situations can only be resolved by violence. The plotting of the novels allows Crumley’s penchant for the shaggy dog tale and wide ranging hair of the dog that follows.

In The Long Good Kiss, a sick lovesick saga if there ever was one, Crumley defies the beat with squirrely maneuvers, digressions, soul searchingly bared and nakedly sentimental. Sughrue is the hero who must defeat the dragon, save (find) the maiden, and deal with his own demons. The common theme of these novels is of a quest for vengeance as a means to an uncertain redemption that requires guts, determination, foolish pride, and a firearm. What follows are the peripatetic permutations of Crumley’s telling. In a world ruled by violence, Crumley organizes his action like a cavalry charge or a commando operation, and often things go wrong (otherwise you wouldn’t have a story) and the hero suffers the consequences of hubris.

Most of Crumley’s novels begin in a bar (any bar) rendered accurately from long habituation. In The Long Good Kiss, Sughrue is drinking the “heart out of a spring afternoon,” and Bordersnakes starts out with Milo in a bar fight. PIs now seem only viable  in the dimlit underbelly of  prairie states (the American steppes) drinking dens where the world is still wild and desperate. And to do what they think they have to do and maybe sorta do it, they have to be Grizzly Adams cloned with a mean streets PI, a paladin in the Marlowe mode, mug like Richard Boone and shoulders like Cheyenne Bodey’s, and none of that 77 Sunset Strip cute beatnik stuff. The western had been an almost daily staple of evening TV viewing in the decades of the 60s and 70s—there was always someone stalking the dusty street ready to shoot a gun after dinner.

Crumley’s surrogates are thoughtful yet violent, men of instinctive action with not a little self-recrimination, flawed in effect, which always makes for the best PIs. His guys have another Chandleresque inflection beside the shining armor complex—they get sappy around dames, and it’s always their downfall, and always what inflicts the most pain. Crumley has no qualms in laying out all the details of betrayal and bitterness with the telling authenticity of the barroom orator. His rhetorical hooks to keep your attention, the left hook, the right hook, the uppercut, the fist to the throat, the kick in the groin so vividly depicted that they actually tickle the amygdala and tenuous (fight or flight) signals are expressed as subtle experience by their visceral hair raising realism . Crumley can do that.

His novels each have the scale of classical epics and myths in that the hero has to undergo various altruistic trials and battle the inhuman in himself and in others. Crumley never achieved mainstream success with his seven novels, The Last Good KissThe Mexican Tree Duck and The Right Madness featuring C.W. Sughrue, along with The Wrong CaseDancing Bear and The Final Country featuring Milo Milodragovitch, although The Mexican Tree Duck won him a Dashiell Hammett Award in 1994, and his work has been cited as influential to a generation of the top crime fiction authors including Connelly, Pelecanos, and Lehane.

There’s a bar in Missoula, Montana that Crumley used to frequent, hold forth, spin his stories, and gauge the effectiveness of his outrageous stories on the credulousness of his interlocutors. Reading their expressions was probably the greatest pleasure, typing up the stories was the real work. There’s an effigy of Crumley on a stool at one end of the bar where he perched and held his monologues. Better than any mantlepiece tribute. Crumley was, in Lord Buckley’s words, “God’s own drunk,”

James Sallis

James Sallis is the polar opposite of Crumley. Where Crumley might be said to use a machete to carve out his stories, Sallis uses a scalpel or, at the very least, an x-acto knife to shape his. Carefully crafted, the stories are quiet and deep. Their mood is dark, subdued, cerebral. In many respects they depict the psychological essence of noir. His characters are revealed in nuanced dialogue or by the mundane ambiguity of a scene. Throughout there is the subtle stylistic shadow and light reminiscent of German Expressionism and a dream-like melancholy framed in a meticulously considered language. Sallis’s novellas, no matter their content, are literary.

cricketLew Griffin, Sallis’s PI,  is portrayed realistically, not as a knight in shining armor, but as gritty, a survivor in spite of himself, haunted, flawed. Griffin is featured in six novellas, all titled after insects (companions of the loner or lonely man) beginning with The Long Legged Fly in 1992 and including Bluebottle in 1999, and Ghost Of A Flea in 2001.The action is often muted, viewed in the aftermath or off camera, the consequences telling the story that led to them. Lew Griffin is a black man, obviously self-educated and fond of quoting French authors, living in or on the edge of poverty in and around New Orleans. He finds people or saves them or kills them but always with lengthy soul searching consideration. He’s a tough guy because he is forced to be not because he wants to be. He has no illusions, thus the basis of his sustained noir ennui.. The tang of adrenaline is rare in Sallis’s crime fiction yet the depictions and progressions of the stories are always satisfying, literate contemplative ruminations on the human condition.

Sallis’s novel Drive (2005), about a stunt driver who moonlights as a getaway driver, was made into a successful movie starring Ryan Gosling. His John Turner series about an ex-cop, ex-con, ex-psychotherapist now deputy sheriff up Cripple Creek is his entry into the swamp noir genre  and presents no end of labyrinthian possibilities. Two of his recent novellas, Sara Jane (2019) and Others Of Our Kind (2013) are illustrations of his range as a storyteller and finesse in developing his characters, both of whom are women. Sallis moves out of the shadows in these novellas. In Sara Jane, a tale of great subtlety, the tone is the washed out yellows shading to amber of a prairie state. Others Of Our Kind is about Jenny Rowen who was abducted at age eight, and in this tale, the mood lighting is that of a not quite noir grayish blue.

Sara Jane is about a female deputy sheriff and the telling proceeds obliquely as a montage of memory revealed in elliptical snatches of reminiscence and circumstance. Understated, the story carries the reader along, meandering through seemingly unrelated threads that quietly become meaningful. Over the course of the narration, connections are made, peripheral epiphanies, illusive and open ended, flash like dry lightning. The secret of Sara Jane’s past will be revealed as the story closes but how the revelation unfolds is what makes the narrative a remarkable piece of writing. Then it’s over, and the reader is pleasantly surprised by a story carefully encapsulated by brevity and the resonance of impressions.

Others Of Our Kind offers an odd psychological study of a crime victim. How the story unfolds and how it progresses is not the expected enervated existential crisis. Absent is the moral outrage of a young girl abducted and kept in a box for two years. Absent also is an anguished recovery of identity and reconciliation with family. The expected trauma tropes give way to those of an unbound freedom, not victimhood. As an older successful professional, Jenny remains blithely unaffected by her ordeals, as a sex slave, as a mall rat. A crime of similar nature has occurred and through her professional contacts as a TV News editor she consults with the police detective who is investigating the case. Jenny’s introspection about her past provides the context over which the narrative develops. The tale is told with unusual candor in a series of set scenes that emphasize the mundane matter of fact passage of time. No high drama interposes in the precise delineation that resolves almost through sheer inertia. The story arc is vast and accounts for decades. In the epilogical resolution, the final scene is approached as if from a distance gradually closing in, and Jenny is much older now, retired to a sunshine state, at her writing desk, thoughtful, putting the finishing touches to her story, one that doesn’t accommodate the beats of formula crime fiction but works just as well. Sallis allows the story to find its own way at it’s own pace and he needs only 118 pages to do it.

Stylistically, Sallis’s stories work like films  and demonstrate the focused character-based concerns attributed to European cinema. The sensibilities are refined even if they do belong to country folk, the characterizations are centered albeit spare befitting a quotidian stroll through the psyche. His novellas are cinematic in their pacing, each like a finely wrought ninety minute story leaving you wanting more. They progress in brief narrative takes and cuts. an artful shuffle of suspenseful digressions undercutting any determining sense of purpose. Nor are they dialogue driven narratives. Rather they are etudes on framing circumstance.

The author of eighteen novels as well as the acclaimed biography Chester Himes, A Life (2001), James Sallis has been translated into German, French, and Spanish, earning acclaim in each of those languages with the Grand Prix de Littérature Policière, the Deutsche Krimi Preis, and the Spanish Brigada 21 as well as Bouchercon’s  Lifetime Achievement Award. He is also recipient of the Hammett Prize for excellence in literary crime fiction.

Besides his crime centered fiction, Sallis has published collections of short stories, poetry, criticism, scholarly studies on the role of the guitar in American Jazz, and translations from the Russian, French, and Spanish. Notably, his translation of Raymond Queneau’s Saint Glinglin (1993) leads to the assumption that Sallis is more than passing familiar with the unique approaches to the narrative by the influential French author and founder of Oulipo. He has admitted that he draws some of his esthetic for his stylistic approach from Michel Butor and Alain Robbe-Grillet, two proponents of the Nouveau Roman. Sallis captures that particular je ne sais quois élan, and seems perfectly comfortable with the novella form, one that he has undoubtedly mastered.

That’s my story and I’m sticking with it
Perry O’Dickle, for Dime Pulp

Contents Vol. I No. 11

Introducing Dime Pulp Number Eleven

In Issue Eleven of Dime Pulp, A Serial Fiction Magazine, Better Than Dead, a 1940 serial detective fiction prompted by the illustration of a vintage Black Mask cover featuring the hapless Lackland Ask holed up after the massacre in the Heights and looking for a way to extricate himself from a mess of murder. But first, a romantic interlude..

The Last Resort, A Lee Malone Adventure aka Tales Of A Long Legged Snoop, picks up the pace toward its concluding chapters as the former international beauty and now reporter for The Corkscrew County Grapevine, is put in the position of being auctioned off to the highest bidder in a sex slave auction and has to resort to using her secret weapon, femme fou.

And beginning this issue, we are pleased to start the serialization of Pat Nolan’s On The Road To Las Cruces, Being A Novel Account of the Last Day in the Life of a Legendary Western Lawman, a work of fiction tethered loosely to historical fact. It is as much a retelling of some history as it is how such a retelling might come about, and represented in the manner of a tall tale, the deadpan details of a crime story, melodrama, and a conspiracy to murder.

Dime Pulp continues its crime spree with the serialization of three full length novels, The Last Resort and Better Than Dead, A Detective Story, as well as On The Road To Las Cruces.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Eleven

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 32-33

BTD head

Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime fiction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. 

A Detective Story–11

Second Snowstorm Slams Into St. Mary's MD

In late February of 1908, a one-time drover, buffalo hunter, saloon owner, hog farmer, peach grower, horse rancher, US Customs inspector, private investigator, county sheriff, and Deputy US Marshal set out from his adobe home on the mesa above Organ, New Mexico accompanied by a young man in a black buggy on the journey to Las Cruces.  He would never arrive.  This is the story of that journey, a novel account of the last day in the life of a legendary lawman.

—ONE—

Contents Vol. I No. 10

Introducing Dime Pulp Number Ten

In Issue Ten of Dime Pulp, A Serial Fiction Magazine, the big news is that Colin Deerwood, who had always considered A Detective Story as a working titled, has finally settled on Better Than Dead for the title of his 1940 serial detective fiction prompted by the illustration of a vintage Black Mask cover and featuring the hapless Lackland Ask now on the run from the cops and the mob after the massacre in the Heights.

The Last Resort, aka Tales Of A Long Legged Snoop, picks up the pace toward its concluding chapters as Lee Malone, former international beauty and reporter for The Corkscrew County Grapevine, accompanies her boss to a Charity Fund Raiser fashion show at Montague Winery’s flashy mini Bavarian castle.

In the final installment of The White Room, Helene Baron-Murdock’s Detective Jim Donovan of the Weston County Sheriff’s Office Violent Crimes Unit narrowly escapes being shot on sight as he tries to solve the mystery of the death of Ike Carey in this latest Hard Boiled Myth.

Dime Pulp continues its crime spree with the serialization of two full length novels, The Last Resort and Better Than Dead, A Detective Story, as well as another serial short story based on Greek myths under the rubric of Hard Boiled Myth.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Ten

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 30-31

HBMbanner421

Greek myth is rife with murder, mutilation, cannibalism, mayhem, and the ever popular incest.  Weston County Sheriff’s Detective Jim Donovan of the Violent Crimes Unit wouldn’t know a Greek myth from a Greek salad, but if he did he would find some troubling similarities to the cases he’s investigating.  Revisited as crime fiction are the strange death of Hippolytus, the agonizing death of Heracles, the slaughter of Penelope’s suitors, the Fall of Icarus,  the sparagamos of Orpheus, and the cursed lineage of Pelops.  Helene Baron-Murdock’s Hard Boiled Myth taps into the rich vein of classical literature to frame these ancient tales in a modern context.

The White Room I
The White Room II
The White Room III
The White Room IV
The White Room V

BTD head

Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime fiction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. 

A Detective Story—10

 

Contents Vol. I No. 9

Introducing Dime Pulp Number Nine

In Issue Nine of Dime Pulp, A Serial Fiction Magazine, the big news is that Colin Deerwood, who had always considered A Detective Story as a working titled, has finally settled on Better Than Dead as the title of his 1940 serial detective fiction prompted by the illustration of a vintage Black Mask cover and featuring the hapless Lackland Ash in a quest for diamonds and the legendary Empress’ Cucumber.

The Last Resort, aka Tales Of A Long Legged Snoop, picks up the pace toward its concluding chapters as Lee Malone, former international beauty and reporter for The Corkscrew County Grapevine, is under suspicion of torching her own country cabin. To the rescue comes her neighbor, Rhonda LaLonda, one time porn star, to take her under her wing for commiseration and whiskey.

In the fourth installment of The White Room, Helen Baron-Murdock’s Detective Jim Donovan of the Weston County Sheriff’s Office Violent Crimes Unit ties together more pieces of the mystifying puzzle into the death of Ike Carey with the help of Ionna Gunn, director of the environmental group, EAF, that points to a sinister government agency operating behind the scenes as he tries to solve the mystery of this latest Hard Boiled Myth.

Dime Pulp continues its crime spree with the serialization of two full length novels, The Last Resort and Better Than Dead, A Detective Story, as well as another serial short story based on Greek myths under the rubric of Hard Boiled Myth.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Nine

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 28-29

HBMbanner421

Greek myth is rife with murder, mutilation, cannibalism, mayhem, and the ever popular incest.  Weston County Sheriff’s Detective Jim Donovan of the Violent Crimes Unit wouldn’t know a Greek myth from a Greek salad, but if he did he would find some troubling similarities to the cases he’s investigating.  Revisited as crime fiction are the strange death of Hippolytus, the agonizing death of Heracles, the slaughter of Penelope’s suitors, the Fall of Icarus,  the sparagamos of Orpheus, and the cursed lineage of Pelops.  Helene Baron-Murdock’s Hard Boiled Myth taps into the rich vein of classical literature to frame these ancient tales in a modern context.

The White Room I
The White Room II
The White Room III
The White Room IV

BTD head

Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime fiction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. 

A Detective Story—9

 

Contents Vol. I No. 8

Introducing Dime Pulp Number Eight

In Issue Eight of Dime Pulp, A Serial Fiction Magazine, things are heating up in Corkscrew County as former supermodel and now reporter for the Corkscrew County Grapevine, Lee Malone is shocked from a riverside reverie of her time in Sabbia Negru under the protection of the women of SAPHO, Société Anonyme Protectrice des Hétaïres et Odalisques, to learn that she is suspected in the arson of her own cabin as The Last Resort, aka Tales Of A Long Legged Snoop, picks up the pace toward its concluding chapters.

In the third installment of The White Room, Helen Baron-Murdock’s Detective Jim Donovan of the Weston County Sheriff’s Office Violent Crimes Unit ties together more pieces of the mystifying puzzle into the death of Ike Carey that points to a sinister forces operating behind the scenes as he tries to uncover the true identity of “Dad” Ailess and solve the mystery of this latest Hard Boiled Myth.

Lackland Ask of A Detective Story finds himself in a pawn shop at the edge of Chinatown with the young linguaphile minx where the proprietor, Max Feathers, not only appraises the uncut diamond but launches into a hair-raising tale of his escape from St. Petersburg and his harrowing journey on the Trans-Siberian Railroad with jewels sewn in the seams of his clothes, and where they are also introduced to the Empress’s Cucumber.

Dime Pulp continues its crime spree with the serialization of two full length novels, The Last Resort and A Detective Story, as well as another short story based on Greek myths under the rubric of Hard Boiled Myth.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Eight

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 26-27

HBMbanner421

Greek myth is rife with murder, mutilation, cannibalism, mayhem, and the ever popular incest.  Weston County Sheriff’s Detective Jim Donovan of the Violent Crimes Unit wouldn’t know a Greek myth from a Greek salad, but if he did he would find some troubling similarities to the cases he’s investigating.  Revisited as crime fiction are the strange death of Hippolytus, the agonizing death of Heracles, the slaughter of Penelope’s suitors, the Fall of Icarus,  the sparagamos of Orpheus, and the cursed lineage of Pelops.  Helene Baron-Murdock’s Hard Boiled Myth taps into the rich vein of classical literature to frame these ancient tales in a modern context.

The White Room I
The White Room II
The White Room III

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Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime fiction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. 

A Detective Story—8

 

Contents Vol. I No. 7

Introducing Dime Pulp Number Seven

In Dime Pulp, A Serial Fiction Magazine, Issue Seven, Helena Baron-Murdock’s Hard Boiled Myth featuring Weston County Sheriff’s Detective Jim Donovan, drops more clues than an Agatha Christie mystery to the Greek myth she’s adapted. Part two of The White Room finds Donovan looking into the mysterious restricted zone at the top of Mount Oly and almost being run off the road by ominous tinted window dreadnaughts as well as concluding that answers to the identity of the murder victim might be closer to sea level at the Sparta Creek Trailer Park.

The Last Resort continues the adventures of Lee Malone, former super model and now small town reporter for the Corkscrew County Grapevine, with a close call from a presumed friend now antagonist, and a deep dive into her kidnapping by the radical underground feminist group known as S.A.P.H.O.

The latest installment of A Detective Story finds our semi-hero with a chance to get a handful of uncut diamonds in exchange for an address book possibly belonging to a member of The Black Hand, get next to a good looking dolly all the while while teaching her the subtleties of American slang.

Dropping A Dime, News, Views, and Reviews in which yours truly, Perry O’Dickle, aka The Professor, offers up his considered and considerable opinion on the fine art of pulp fiction, reviews of crime fiction, old and new, as well as news of upcoming publications features another look at Max Allen Collins’ Nolan saga from Hard Case Crime with reviews of Two For The Money and Skim Deep.

Dime Pulp continues its crime spree with the serialization of two full length novels, The Last Resort and A Detective Story, as well as another short story based on Greek myths under the rubric of Hard Boiled Myth.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Seven

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 1-3
The Last Resort, Chapters 4-6
The Last Resort, Chapters 7-10
The Last Resort, Chapters 11-13
The Last Resort, Chapters 14-20
The Last Resort, Chapters 21-23
The Last Resort, Chapters 24-25

HBMbanner421

Greek myth is rife with murder, mutilation, cannibalism, mayhem, and the ever popular incest.  Weston County Sheriff’s Detective Jim Donovan of the Violent Crimes Unit wouldn’t know a Greek myth from a Greek salad, but if he did he would find some troubling similarities to the cases he’s investigating.  Revisited as crime fiction are the strange death of Hippolytus, the agonizing death of Heracles, the slaughter of Penelope’s suitors, the Fall of Icarus,  the sparagamos of Orpheus, and the cursed lineage of Pelops.  Helene Baron-Murdock’s Hard Boiled Myth taps into the rich vein of classical literature to frame these ancient tales in a modern context.

Long Shot I
Long Shot II
Notification Of Kin
Valentine’s Day I
Valentine’s Day II
The White Room I
The White Room II

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Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime friction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. The brownstone was on the Westside and easy enough to find. So was the mug’s yellow roadster. It stuck out like a new shoe in a cobbler’s shop. I was being a sap again. I woke sitting straight up, sweat pouring out and over me, my undershirt drenched. I was going to have to change my shorts. Some dream. They worked me over, demons in dingy cable knit sweaters. They pumped my arms and peered in my face with eyes as black as eightballs. He handed me a hat. “The pièce de résistance.” He said it like he was serving me dessert. The gat fell from his hand and clattered across the marble floor. It looked like something that might have survived the battle at Ypres. I looked at him and back at the hand and then at the rabbi and his granddaughter who all seemed very pleased by what was being offered. “You’re offering me pebbles? Little gray rocks?”

This kind of story always starts with a blonde
“I was being a sap again.”
“Some dream”
“demons in dingy cable knit sweaters”
“He handed me a hat.”
“The gat fell from his hand” 
“You’re offering me pebbles? Little gray rocks?”

dime-reviews-hdrOnce again from Hard Case Crime, the imprint that is doing it’s darndest  to resuscitate pulp nostalgia with it’s tantalizing cover art and reprints of  of crime fiction classics as well as original contemporary genre fiction comes Max Allen’s Collins’ continuing saga of master thief  Nolan and his young, comic book-loving partner, Jon, matching wits with mobsters while trying to hang on to their lives as well as their stash of bank heist loot. This installment of Dropping A Dime takes a look at the origins of the Nolan and Jon team in Bait Money as well as the contemporaneously penned wrap-up curtain call (but not “curtains”) for the duo in Skim Deep.  

Dime One
Dime Two: Come Back, Nolan, Come Back
Dime Three: He’s Back! (Nolan, that is)

DIME THREE: He’s Back! (Nolan, That Is)

I gotta come clean. Once again the gang at Hard Case Crime have crossed the transom with the requisite paper in the form of two novels in the Nolan series by Max Allen Collins. If Dime Pulp were a legit operation, we might expect more, but since it isn’t, we don’t. The latest from Hard Case Crime did keep these offices burning the midnight oeil. Not due to a guilty conscience, however, but in pursuit of guilty pleasure, i.e., reading crime fiction.

To make up for the gap in our limited knowledge of the Nolan saga, those Hard Case types bookended these offices with the original Collins foray into Nolan territory, and then an encore, as a wrap up to an epic crime career, written thirty three years later. Collins’ origin stories for the Nolan and Jon characters begin in a novella titled Bait Money, a boy meets thief story, in which the bond between apprentice and master is forged and sets the tone for all the Nolan-centric adventures to follow.

twoferHard Case Crime has reprinted four novellas from that late 80s period,  Two For The Money and Double Down  (reviewed in Dropping A Dime Two) each in the twofer format, which will be joining another two (four) titles slated for publication in 2022 and 2023. Skim Deep, the encore curtain call for Nolan and Jon, is novel length in its own right.

The incredibly prolific pulp polymath Max Allen Collins is a Hard Case Crime franchise author, it should be noted, Mickey Spillane’s heir apparent, and author of the Quarry assassin series (also well represented under the Hard Case Crime imprint). In the author’s note to Two For The Money, Collins reveals that the idea for the title and the plot of the first story, Bait Money, was inspired by his girlfriend who worked in a bank. The story starts off solid with a portrayal of Nolan, heist meister extraordinaire, trying to smooth things over with the mob over his killing of one of the bosses’ relatives. The mobster wants a blood price and Nolan has to find a way to pay it. Enter Jon, a comic book aficionado and amateur who has come up with a plan to take down a local bank. Needless to say it’s a bad plan, but the pro sees a way of fixing it and potentially clearing his debt. And naturally there are double crosses, unfaithful women, killing, and last minute glitches.

The Nolan character, Collins admits, is based on Richard Stark’s Parker. And to fix him in the reader’s mind, he is described as looking like Lee Van Cleef. If you were reading Bait Money when it was first published, you would know who Lee Van Cleef was and what he looked like. For the new generation of readers, Hard Case Crime has commissioned covers featuring the likeness of a Van Cleef-ish looking protagonist. And while Parker is a meticulously formulated character, Nolan, ostensibly just as tough, is humanized by taking on an heir apparent in Jon who also adds some comic (book) relief as it is his naivete that informs the narrative. There the resemblance ends, due primarily to a difference in styles.

Donald Westlake’s Richard Stark, author of the Parker novels, presents a casebook for the terse, uncompromisingly “stark,” stoic, “just the facts, ma’am,” Joe Friday deadpan voiceover narration. It is a style Stark is known for, and one admired by countless crime fiction buffs and aspiring writers. The economy of the prose finds it source in an older generation of writers who knew the value of counting words, as they were paid by the word, and well aware of the editorial constraints on length. The Parker novels may be formulaic but they have an edge that never gets dull. Combined with nearly imperceptible cinematic scene transitions and you have a style well worth emulating.

Max Allen Collins’ Nolan stories have what might be termed an improvisational discursive style, aka the kitchen sink approach, in which everything you need to know (cue Ed McMahon) about the characters’ looks, motivations, hopes, fears, hangnails, and warts are presumed open secrets from the discourse of the omniscient narrator who does not hesitate to tell the reader how it is. Collins is a good storyteller whose style is no style, just a recounting of the honest to goodness facts of a story that is too good to be true and bound to go south at any point, and of course that’s what the reader is looking for behind the feints and dodges, and seemingly untenable albeit predictable situations.

In some sense Parker doesn’t seem to have a future, going from one heist to another, scrabbling to stay even. Nolan, on the other hand, is trying to get just enough ahead so he can open up a snazzy club while staying out of the clutches of the mob. He wants to retire from the heist biz and lead a normal and happy life without a .32 Colt breathing down his neck. It would be difficult to make Nolan into a petty bourgeois but he has the dreams of one, a quintessential American dream, though with more than a little tang of cynicism. Parker is an untamed animal, a force of nature, with which nature will deal.

The second novella in Two For The Money is titled Blood Money in which the bonding between Nolan and Jon solidifies in their quest for revenge against the men who killed Jon’s guardian uncle, the “Planner” (shades of Dortmunder). The “eye for an eye” theme is big in the Bible Belt Midwest where most of the action takes place: Iowa, Missouri, Illinois, Wisconsin, anywhere the mob and fundamentalism might have its tentacles. There are no shortages of derring-do, shootouts, kidnappings, and miraculous rescues. Enough twists and turns to keep the pages turning, a few slapstick moments to offset the more compelling business of getting the money and getting revenge, and the hedging justifications for that chosen lifestyle of outlier/outlaw. Yet there are consequences: that butterfly whose butt you kicked is going to come back around in the form of a homicidal maniac looking to get even. And take all the money.

skimCan an author go back to a character thirty three years later and pick up where he left off? What will have changed in experience and maturity of style? These are question the curious reader might ask as they dip into Skim Deep, the epilogue to the Nolan saga, the last ride into the Acapulco sunset.

Nolan is retired from the heist biz with that snazzy club he always wanted and the soft life is making him sentimental so he pops the question to his longtime live-in gf. Enter Vegas, where Jon now resides trying to make a living as a comic book artist keyboardist for a casino cover band and where Nolan and his bride-to-be are heading to get hitched. Enter, also, revenge, in the form of “Maw” Comfort, matriarch of a clan of crooks from (where else?) Missouri, three of whose members Nolan has had to eliminate for stepping on the toes of his thief’s integrity and going for the double cross. And, of course, money, the root of all robbery, in the form of a casino skim. This one time, the coming together of the retired robber and his now journeyman partner is not with the object to plan a job but to celebrate and “legalize” a relationship about which Jon’s feelings are ambivalent (incidentally). Not to spoil all the machinations of the plot, but like a Jacques Tati movie, everything that goes around, comes around and meets at the intersection in a head-on collision. The pitch might be spun as: they fall in shit and come out smelling like roses.

As for the difference in style, Collins has not abandoned his fussy omniscient narrator nor the breezy improvisational writing style. The sex scenes have improved in detail if not in sensitivity. In the portrayal of Jon, Collins allows more of the autobiographical nature of the character emerge (which has always been there on one level of emphasis or another). That the main action does not take place in the Quad Cities area somehow ups the ante on the techniques of graphic violence. In Skim Deep, the pulp adventure returns to its roots as a Western, and Collins’ long expertise in the pulp genre skillfully brings about the denouement to everyone’s (characters included) satisfaction.

To read in this crime fiction genre is to discover something about the American psyche, the deep rooted divide of oblivious well-off swells and the continual rebellion of the have-nots who want theirs. The symbolic outlaw then becomes valorized to justify contravening societal norms as a leveling of the playing field, a kind of grass roots communism, a Utopic equitable community. Yet the myth of egalitarianism posits a level playing field in which universal values are applied equally when obviously this is never the case—the “nature” of humans intervenes—hierarchies or boundaries are created depending on the circumstances. Idealized individuals (such as Nolan and Parker) stand symbolically for the masses, and differences are glossed over to align with the symbolic outlier outlaws who are too unruly to fit into the narrow category of convention and reside at the periphery where dogs howl to be let in, but flee the multitude once the gates are opened (thus their tantalizing mystery). Fiction can only deal these issues a glancing blow in the hazy nostalgia for a way it has never been.

That’s my story and I’m sticking to it,
Perry O’Dickle
for Dime Pulp

Contents Vol. I No. 6

Introducing Dime Pulp Number Six

Dime Pulp, A Serial Fiction Magazine, Issue Six features a large chunk of Colin Deerwood’s A Detective Story, getting into the meat of the first act as Lackland Ask, Confidential Investigations, finds his lawyer gunned down in his office and narrowly escapes the same treatment as he seeks out someone to decipher the Cyrillic writing in the dead hood’s address book only to encounter a breathtaking young frail who just might be the key to untold riches, at the very least enough scratch to let him live comfortably in a style he is not normally accustomed to.

Helena Baron-Murdock’s Hard Boiled Myth featuring Weston County Sheriff’s Detective Jim Donovan, is called out for an unidentified body found in the surf which turns out to be a possible homicide. In the course of his investigation he learns of a top secret installation in the coastal hills that draws his suspicions in a multipart short story titled The White Room that involves hang gliders, environmental activists, and a clandestine government agency.

Further in the adventures of Lee Malone, former super model and now small town reporter for the Corkscrew County Grapevine, who has just missed witnessing a murder and now has been called in to be deposed in the original murder she almost witnessed in the continuing chapters of The Last Resort in which she is suddenly reminded of her party girl past while meeting hostility from someone she thought she could trust.

Also in this issue, a sneak preview of a new serial novel slated for future publication in these hallowed (hollowed?) pages as we lift the veil on a Steampunk adventure by nouvelle roman author, Phyllis Huldarsdottir featuring the indomitable Captain Lydia Cheése (pronounced Chase), Airship Commander, whose quest for her father. the legendary Commodore Jack Cheése, might just take her around the world titled Cheése Stands Alone .

Dropping A Dime, News, Views, and Reviews in which yours truly, Perry O’Dickle, aka The Professor, offers up his considered and considerable opinion on the fine art of pulp fiction, reviews of crime fiction, old and new, as well as news of upcoming publications features a book review of Max Allen Collins’ Double Down from Hard Case Crime.

Dime Pulp continues its crime spree with the serialization of two full length novels, The Last Resort and A Detective Story, as well as another short story based on Greek myths under the rubric of Hard Boiled Myth.

If you’ve made it this far, go ahead and follow the links below to reading entertainment with the serial contents of Volume One, Number Six

  —Perry O’Dickle, chief scribe
and word accountant


TLR banner321Deep in the redwood wilds along the Corkscrew River, someone is shooting neighborhood dogs. The year is 1985 and Lee Malone, former fashion model, queen of the runways from Paris to Milan, once dubbed the most beautiful woman in the world, now a part-time reporter for The Corkscrew County Grapevine, is looking for a story to sink her teeth into. When Lee finds the owner of Kelly’s Seaside Resort brutally murdered, it leads her on an adventure that includes a mysterious gray van, another murder, extortion, pornography, sex slavery, and a shadowy organization of militant feminists known as SAPHO.  In the process, Lee Malone’s notorious past catches up with her. 

The Last Resort, Chapters 1-3
The Last Resort, Chapters 4-6
The Last Resort, Chapters 7-10
The Last Resort, Chapters 11-13
The Last Resort, Chapters 14-20
The Last Resort, Chapters 21-23

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Greek myth is rife with murder, mutilation, cannibalism, mayhem, and the ever popular incest.  Weston County Sheriff’s Detective Jim Donovan of the Violent Crimes Unit wouldn’t know a Greek myth from a Greek salad, but if he did he would find some troubling similarities to the cases he’s investigating.  Revisited as crime fiction are the strange death of Hippolytus, the agonizing death of Heracles, the slaughter of Penelope’s suitors, the Fall of Icarus,  the sparagamos of Orpheus, and the cursed lineage of Pelops.  Helene Baron-Murdock’s Hard Boiled Myth taps into the rich vein of classical literature to frame these ancient tales in a modern context.

Long Shot I
Long Shot II
Notification Of Kin
Valentine’s Day I
Valentine’s Day II
The White Room I

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Lackland Ask is the name. ‘Lack’ to my friends, ‘Don’t’ to those who think they’re funny. You might have seen my portrait on the cover of Black Mask, the crime friction magazine. This is my story. It starts with a blonde. This kind of story always starts with a blonde. The brownstone was on the Westside and easy enough to find. So was the mug’s yellow roadster. It stuck out like a new shoe in a cobbler’s shop. I was being a sap again. I woke sitting straight up, sweat pouring out and over me, my undershirt drenched. I was going to have to change my shorts. Some dream. They worked me over, demons in dingy cable knit sweaters. They pumped my arms and peered in my face with eyes as black as eightballs. He handed me a hat. “The pièce de résistance.” He said it like he was serving me dessert. The gat fell from his hand and clattered across the marble floor. It looked like something that might have survived the battle at Ypres. 

This kind of story always starts with a blonde
“I was being a sap again.”
“Some dream”
“demons in dingy cable knit sweaters”
“He handed me a hat.”
“The gat fell from his hand”

Sneak Preview

cheesealonevinex8

In March of 1892, a Scotsman by the name of Arthur C. “Artie” Doyle was hanged by the neck until dead after being found guilty of a string of grizzly murders of prostitutes in Whitechapel. At that moment, history veered off its presumed course and headed in a direction all its own in which the Great War never happened because the Kaiser was afraid of offending his grandmother, Queen Victoria, whose life was prolonged by the wonders of biology. The peace of her reign, known as the Pax Victoriana, despite some major environmental disasters, has lasted 180 plus years keeping as many Victorian airs as possible while making accommodations to bio technology. Follow Capitan Lydia Cheése (pronounced Chase), Airship Commander, into a world in which the biological sciences overshadow the physical sciences. Steam engines dominate most modes of propulsion. The skies are filled with lighter-than-air craft and railroads cover most of the globe. Internal combustion engines are banned except in the non-aligned nations of the African continent.  Can Lydia Cheése find her father, the antigovernment turncoat and radical, Commodore Jack Cheése. Will her quest take her around the world in less than 80 days or is it a lifelong journey?  Catch your interest? Below is a sample of how any of that might occur in an alternate world never before explored.

Cheése Stands Alone

dime-reviews-hdrFrom Hard Case Crime  nominated for  numerous honors since its inception including the Edgar, the Shamus, the Anthony, the Barry, the Ellery Queen, and the Spinetingler Award with titles that include Stephen King’s #1 New York Times bestsellers, Joyland and Later; James M. Cain’s lost final novel, The Cocktail Waitress; lost early novels by Michael Crichton (writing under the name “John Lange”) and Gore Vidal (writing as “Cameron Kay”), comes Max Allen’s Collins’ second outing  in the Nolan series , continuing the saga as Nolan and his young, comic book-loving partner, Jon, match wits with a skyjacker and a vigilante slaughtering the members of a Midwest crime family.

Dime One
Dime Two: Come Back, Nolan, Come Back

Dropping A Dime Two

Come Back, Nolan, Come Back

MAX ALLAN COLLINS’ MASTER THIEF, NOLAN, RETURNS IN ALL-NEW EDITIONS OF HIS CLASSIC ADVENTURES 
DOUBLE DOWN | Max Allan Collins | May 25, 2021 | Trade Paperback | 352 pp
 ISBN: 978-1789091410; e-ISBN 978-1789091427
US $13.95; CAN $18.95 

FULL DISCLOSURE: Hard Case Crime provided the review copy of Double Down by Max Allan Collins after these editorial offices begged for any kind of review material, press releases, etc., to post in this column, essentially filler in an effort to give the impression that we here at Dime Pulp are dialed in and ready to drop a dime on the fine art of pulp fiction (which may sound to some like an oxymoron but more on that later).

Hard Case Crime might have even thought that they had merely tossed a crumb our way but it had the effect of opening up a whole new box of donuts. At any rate, the classy pulp tome with its appropriately garish cover remedied an editorial unfamiliarity with Max Allen Collins’ writing and his master thief and heist maven, Nolan. 

Hard Case Crime has built a solid inventory reissuing some underappreciated and long forgotten authors of the paperback pocket book explosion of the 40s and 50s as pulp magazine fare evolved to standalone crime novels. Reprints of Collins titles make available a later iteration of popular adventure/crime novels of the waning decades of the 20th century in what might be termed “pop pulp,” a style readily adapted to graphic novel storyboard treatment. This is not to overlook their emphasis on the work of Donald Westlake, Laurence Block, or the terrific Gregory MacDonald twofer riff on O. Henry’s The Ransom of Red Chief reissued as Snatch. As well, Hard Case has published a few excellent original works, including Von Doviack’s Charlesgate Confidential.

DDownThe great thing about Hard Case Crime paperback novels is the nostalgic eye candy of titillating covers in that postwar Madison Ave advertising style that brings to mind twirling the wire kiosks of paperback novels in the corner pharmacy over by the greeting cards display looking for something to jump out, something lurid, scandalous, colorful at least, in the hues of rebellion. Essentially these Hard Case Crime paperbacks work as artifacts of taste and nostalgia, a repackaging of an idealized past in the history of crime/men’s adventure literature as a popular mode of storytelling. Although the genre will likely remain popular, actual volumes of bound pulp paper with the eye catching covers may become specialized objects much like vinyl LPs, especially with the advent of the more cost effective eBooks. As I write this, public libraries are discarding their mass paperback collections in favor of the less space demanding digital formats. 

Hard Case Crime titles are also repositories and reiterations of some incredibly terrific writing and imaginative storytelling. The writing style of the hardboiled pulp genre is sourced in the Anglo-American idiom with its laconic exaggerations, understated asides, snappy comebacks, and quaint argot. They are in the main imaginary constructs, based to some extent on experience, but passing themselves off as the real world for reading entertainment. Often situations are farfetched and downright improbable but nothing good writing, deft imagination, and diverting dialogue can’t paper over to render the illogical and unlikely readable. What makes the pulp genre an art is the diverse skill of its practitioners.

Max Allen Collins’ genre specific Nolan novellas have a certain tongue-in-cheek air to them that seems more pop than pulp, particularly with their emphasis on comic book collecting as a kind of meta-referent. Pop fetishizes consumer objects for their cultural resonance whereas pulp is a category of materials used in the manufacture of entertainment literature just as film specifies the medium of cinema. Pop pulp subjects relive imagined circumstances through the objects of their obsession, fantasizing situations in which they can partake in tandem or take on the persona of their fixation. Collins clearly defines his protagonists, Jon and Nolan, as separate individuals yet Nolan doesn’t exist without Jon nor can Jon indulge in his fantasy without Nolan. Or, at the very least, the poster of steely-eyed, rock-jawed Lee Van Cleef that eerily resembles, who else, Nolan.

Also, by way of disclosure, there is a certain amount of resonance to the Nolan referent around the editorial offices of Dime Pulp as it is the family name of one of our contributing authors, Pat Nolan, who is also the brain behind this mad pulp caper as well as the man behind the curtain at Nualláin House, Publisher—Nualláin being Gaelic for Nolan, donchaknow, in tribute to that jolly leprechaun of prose, Flann O’Brien (of The Third Policeman fame) whose real name was Brian O’Nolan or O’Nualláin if you’ve an ear for Celtic speak. It goes without saying that Nolans are a pretty fecund lot and can be found, other than their home turf, from Quebec City to Buenos Aires. Most often it’s a last name, but sometimes a first, especially in the Appalachians and rural South where, as indentured servants and criminals let loose in the new colonies, Nolans headed for those hills as soon as their feet hit dry land after a long and horrific Atlantic crossing. Throw a rock in those parts and you’ll no doubt hit a Nolan, first name or last. Nolans are everywhere, but for Max Allen Collins, Nolan is a mononym—it isn’t his first or his last name, but both, and as such underlines his iconic role as the heroic figure.

Double Down was released by Hard Case Crime in May of 2021 following the April release of Two For the Money. As the titles suggest, each volume features two Collins novella reprints from his Nolan series of the 1970s and 80s. The last two volumes, Tough Tender and Mad Money, will follow in 2022 and 2023. Collins opens with a useful introduction to the genesis of the Nolan series, admitting inspiration from the Parker novels of Donald Westlake’s pseudonymous Richard Stark as well as reiterating a firm denial that he was copy/parodying Don Pendleton’s The Executioner series whose main character is a similar sounding “Dolan.”

These are Max Allan Collins’ fledgling works written years before he wrote Road to Perdition, before his Quarry novels were turned into a Cinemax original series, before he was named a Grand Master by the Mystery Writers of America or ghosting the Mike Hammer novels for the late Mickey Spillane. Set against a ground of pop culture nostalgia for comic books, old movies, and golden age cartoons, the stories work as an accessory after the fact to their illustrated four color context. Nolan is the master thief, and young Jon, the comic book aficionado, is the sorcerer’s apprentice. Collins’ narrative style, a casual conversational ramble, allows veracity to the coincidental material that makes up the underworld of criminals or at least reprehensible lifestyles somewhere in the middle of Iowa where,  not so coincidentally, Collins attended the university and its fabled Writer’s Workshop.

In the first novella, Fly Paper, Jon and Nolan fly to Detroit to commit their righteous payback heist where a comic book convention is also being held and which allows plenty of opportunity to nerd out on comic book references, and of course, since they’re flying, there has to be a skyjacking, DB Cooper style. From this story alone one would get the impression that being a thief, albeit an honorable one, is harder work than might first appear.

Collins uses as epigraph at the beginning of the second novella, Hush Money, a quote from 30’s bank robber, Alvin Karpis, to give an inkling of insight into his Nolan character: “A thief is anybody who gets out and works for his living, like robbing a bank, or breaking into a place and stealing stuff. . . .” On the other hand and in direct contrast to Nolan, “A hoodlum is a pretty lousy kind of scum. He works for gangsters and bumps off guys after they’ve been put on the spot.” In this light, Nolan is a working man, not a mob connected mug.

The midwestern locales of Cedar Rapids and Des Moines in the Nolan sagas provide an entirely appropriate set location for the revalorization of a regional culture hero, the bandit, the bank robber, as in the likes of the James Brothers. The Daltons, and half a century later, Machine Gun Kelly, Pretty Boy Floyd, John Dillinger. Nolan has worked managing Mob assets, but he is not a mobster, and he would like to break free from the association but lacks the leverage or is thwarted or suffers a setback which in itself is the MacGuffin to these tales. He wants out of the game, independence, but will the game let him?

The Nolan stories are narrated matter-of-factly, a backstory always close at hand to smooth over any unexpected inconsistency, told with a faux naïve garrulousness that renders the character of Jon as Nolan’s foil, and in some respects, his Watson. The depictions are spare and not averse to cliché, sketched with minimalist efficiency. The characterizations with the exception of the protagonists are also austerely presented. Unfortunately the “love making” and opposite sex encounters have not weathered well the decades since they were originally conceived (pardon the pun).

As we’ve advocated before here at Dime Pulp, the novella is the ideal vehicle for crime fiction and these two novellas by Collins don’t disappoint in their succinct story arc leading to resolutions that invariably beg for further opportunities to thieve and adventure in the spirit of radio/movie serials of the forties, and four color comic books.

In evolutionary terms, comic books and pulp magazines stem from the same source: penny dreadfuls, the National Police Gazette, and sensationalist yellow journalism of the 19th century. Following WWII, pulp novels and comic books emerged as the go-to reading entertainment while monthly magazines lagged into obsolescence and radio dramas morphed into TV shows. The mood and thrust of the postwar pulp novel reflected the upheaval and brutality engendered by another world war. Crime novels of that time depicted unflinchingly the cruelty and disillusionment of desperate men and women with a darkness and fatalism termed noir. Revenge and lawlessness became more prevalent as themes such as injustice must be avenged took prominence. Yet Justice is blind and wields a double edge sword and in the end, the realization that vengeance is a poor substitute for justice. To enter into that self-devouring daisy chain is enter the lair of the viper, Vendetta ®. Literary depictions of violence tend to be one dimensional, fleeting, and unsatisfactory. It is the lead up to the act, and its consequences, that grabs attention as all violence enacted on the screen or on the page is symbolic no matter how well depicted or orchestrated in its intent to trigger the amygdala’s flight or fight response. A successful effort is often judged by how well and how often the symbolic can undermine the suspension of belief and present the reader with real chills. To be able to accomplish such a feat takes imagination and not a little sadism.

In contrast to the violent vengeful dark despair found in the postwar pulps novels, there was a kind of daffy innocence to prewar pulp fiction appearing in monthly magazines, often as cliff hanger serials, and selling at newsstands. And it is this particular tenor Dime Pulp would like to echo even though it is yet another marginal drop in the meta bucket. Serials were a large part of pulp fiction’s appeal, working class epics on the installment plan for one thin dime. As a serial pulp magazine, Dime Pulp, as in the pulpy days of yore, hopes to offer not only high quality serials but garishly appropriate cover renditions. Pruriently attractive colorful cover art and its arousing effect in stirring up the imagination was a main selling point on the newsstands. A fact attested to by Dime Pulp’s A Detective Story by Colin Deerwood as the story is entirely predicated on the author fixing his gaze on the cover of a vintage issue of Black Mask magazine and improvising time travel to an imagined place where such a detective might live, say in the years leading up to Pearl Harbor. As a serial it has unlimited potential for unfolding from the pages of pulp to the pages of panels. As well, the nominal policiers of Helene Baron-Murdock’s Hard Boiled Myth find themselves with a seemingly endless and labyrinthine source of material gleaned from Greek myth and tragedy. Although the stories are episodic, the thread follows a sheriff’s detective toward the end of his career and into retirement. The Last Resort, A Lee Malone Adventure, Pat Nolan’s pastiche of the private eye genre turned on its head (buxom babe with brains vs. splinter faced chisel chin with a breath that could pickle a squid), was based on a character from a short story published serially in a weekly newspaper. The novel too, published in 2012 by Nualláin House, Publishers,, was written in installments over the course of a few years for a monthly writing workshop, and now returns to publication in its serial roots.

Lastly, just to reiterate, in case it was not made previously clear, the aim of Dime Pulp, aside from garnering a few discerning readers, is to indulge in a speculative fiction make-work program for the benefit and amusement of the author(s), and to partake of the imagination. You are welcome to come along for the ride.

That’s my story and I’m sticking to it,
Perry O’Dickle for Dime Pulp