Bibliography: Gil Brewer's Published Short Fiction

Last updated: 2 February 2019

This bibliography lists all known publications of Gil Brewer stories in English. Stories whose titles are in boldface are collected in both editions of Redheads Die Quickly and Other Stories (UP of Florida [2012] and Stark House Press [2019]). Stories whose titles are in both boldface and italics are included in only the Stark House edition. All additions, corrections, and questions are appreciated!

1951

“With this Gun—.” Detective Tales 47.3 (March 1951): 46-55.

“It’s Always Too Late.” Detective Fiction 156.1 (April 1951): 27-35.

“Final Appearance.” Detective Tales 48.3 (October 1951): 54-62.

Reprinted in Black Mask Detective: A Magazine of Gripping, Smashing Detective Stories [UK] 9.2 (January 1952): 36-41, 54.

1955

“Moonshine.” Manhunt Detective Story Monthly 3.3 (March 1955): 42-50.

Reprinted in My Favorite Crime Story (Derby, CT: Charlton Publications, Inc., n.d.), 44-48.

Note: “Dig That Crazy Corpse,” which was originally published as by Bailey Morgan (Pursuit Detective Story Magazine 8 [March 1955]: 33-47), has been reprinted under Gil Brewer’s name (in A Devil for O’Shaugnessy/The Three-Way Split [Eureka, CA: Stark House, 2008], 153-165), but it is not a Gil Brewer story.

“My Lady Is a Tramp.” Published under the pseudonym Bailey Morgan. Pursuit Detective Story Magazine 9 (May 1955): 1-15.

Reprinted in Pursuit—The Phantom Mystery Magazine 1.9 (1955): 13-25; Bad Girls, ed. Leo Margulies (New York: Crest, 1958), 80-94.

“Motive for Murder.” Man to Man: The Stag Magazine 6.2 (June 1955): 26-27, 44, 46-47.

“Gigolo.” Published under the pseudonym Bailey Morgan. Pursuit Detective Story Magazine 10 (July 1955): 67-78.

“The Screamer.” Published under the pseudonym Eric Fitzgerald. Pursuit Detective Story Magazine 11 (September 1955): 1-44.

“Death Comes Last.” Published under the pseudonym Eric Fitzgerald. Hunted Detective Story Magazine 6 (October 1955): 92-117.

“I Saw Her Die.” Manhunt Detective Story Monthly (October 1955): 37-43.

This issue of Manhunt is included in Giant Manhunt 8 (1956?).

“Red Twilight.” Published under the pseudonym Frank Sebastian. Hunted Detective Story Magazine 6 (October 1955): 87-91.

“Teen-Age Casanova.” Justice: Amazing Detective Mysteries 1.3 (October 1955): 55-68.

Reprinted in Young and Deadly, ed. Leo Margulies (New York: Crest, 1959), 44-58.

“Red Scarf.” Mercury Mystery Book-Magazine 1.3 (November 1955): 3-97.

Reprinted as a stand-alone novel in both hardcover and paperback.

“Don’t Do That.” Published under the pseudonym Bailey Morgan. Hunted Detective Story Magazine 7 (December 1955): 93-100.

1956

“Die, Darling, Die.” Justice: Amazing Detective Mysteries 2.1 (January 1956): 57-77.

Reprinted in The Hardboiled Lineup, ed. Harry Widmer (New York: Lion Books, 1956), 84-103.

“Sauce for the Goose.” Published under the pseudonym Eric Fitzgerald. Pursuit Detective Story Magazine 13 (January 1956): 94-107.

Reprinted in Bad Girls, ed. Leo Margulies (New York: Crest, 1958), 112-126.

“They’ll Find Us.” Accused Detective Story Magazine 1.1 (January 1956): 27-35.

“The Black Suitcase.” Published under the pseudonym Eric Fitzgerald. Hunted Detective Story Magazine 8 (February 1956): 50-66.

“Midnight.” Published under the pseudonym Jack Holland. Hunted Detective Story Magazine 8 (February 1956): 67-78.

“Fog.” Manhunt Detective Story Monthly 4.2 (February 1956): 50-57.

“Shot.” Published under the pseudonym Roy Carroll. Manhunt Detective Story Monthly 4.2 (February 1956): 140-144.

“The Gesture.” The Saint Detective Magazine [U.S. version] 5.3 (March 1956): 104-109.

Reprinted in The Saint Detective Magazine [U.K. version] 2.7 (May 1956): 91-96; The Saint Detective Magazine [U.K. version] 4.5 (March 1958): 108-112; 101 Mystery Stories, ed. Bill Pronzini and Martin H. Greenberg (New York: Avenel, 1986), 37-41; A Century of Noir: Thirty-two Classic Crime Stories, ed. Mickey Spillane and Max Allan Collins (New York: New American Library, 2002), 169-173.

“Home.” Accused Detective Story Magazine 1.2 (March 1956): 122-128.

Reprinted in Hard-Boiled: An Anthology of American Crime Stories, ed. Bill Pronzini and Jack Adrian (New York: Oxford UP, 1995), 341-347.

“Home-Again Blues.” Published under the pseudonym Eric Fitzgerald. Pursuit Detective Story Magazine 14 (March 1956): 108-128.

“Mow the Green Grass.” Published under the pseudonym Jack Holland. Pursuit Detective Story Magazine 14 (March 1956): 101-107.

“Alligator.” Published under the pseudonym Eric Fitzgerald. Hunted Detective Story Magazine 9 (April 1956): 48-56.

“Come Across.” Manhunt 4.4 (April 1956): 52-61.

“Cut Bait.” Published under the pseudonym Eric Fitzgerald. Pursuit Detective Story Magazine 15 (May 1956): 75-83.

“Goodbye, Jeannie.” Accused Detective Story Magazine 1.3 (May 1956): 81-84.

“Short Go.” Published under the pseudonym Jack Holland. Hunted Detective Story Magazine 10 (June 1956): 111-120.

“Return to Yesterday.” Published under the pseudonym Eric Fitzgerald. Pursuit Detective Story Magazine 16 (July 1956): 62-73.

“Matinee.” Manhunt 4.10 (October 1956): 47-56.

This issue of Manhunt is included in Giant Manhunt 9 (1956?).

“The Tormentors.” Manhunt 4.11 (November 1956): 19-26.

This issue of Manhunt is included in Giant Manhunt 10 (1957?).

“Somebody Knew Her.” Published under the pseudonym Barry Miles. Pursuit Detective Story Magazine 18 (November 1956): 110-116.

“Whiskey.” Published under the pseudonym Bailey Morgan. Pursuit Detective Story Magazine 18 (November 1956): 45-62.

“The Axe Is Ready.” Trapped Detective Story Magazine 1.4 (December 1956): 39-50.

“Renegade.” Blazing Guns Western Story Magazine 2 (December 1956): 103-119.

Reprinted in The Horse Soliders, ed. Bill Pronzini and Martin H. Greenberg (New York: Fawcett Gold Medal, 1987), 62-78.

1957

“House of Captive Women.” Male 7.1 (January 1957): 20-23, 86-97.

Condensed from Brewer’s novel A Killer Is Loose (New York: Gold Medal, 1954).

“On a Sunday Afternoon.” Manhunt 5.1 (January 1957): 128-141.

This issue of Manhunt is included in Giant Manhunt 10 (1957?). Also reprinted in The Young Punks, ed. Leo Margulies (New York: Pyramid Books, 1957), 98-114; abridged in Man’s Magazine 5.7 (July 1957): 14-15, 54-59; The Violent Ones, ed. Brant House (New York: Ace Books, 1958), 150-167; Man’s [Magazine] Annual 1968 (1968): 50-51, 97-101.

“‘Beeg Fool.’” Salvo: Finest Foxhole Fiction—The Blood, Lust, Terror of Combat 1.1 (January 1957): 14-21, 92-98.

“Kill Crazy.” Posse: Virile Stories of the Old West 1.2 (April 1957): 61-65.

“Love Me, Baby.” True Men Stories 1.4 (April 1957): 24-25, 52, 54, 56, 58.

“Prowler!” Manhunt 5.5 (May 1957): 1-3.

This issue of Manhunt is included in Giant Manhunt 11 (1957?). Also reprinted in Challenge for Men 5.6 (September 1959): 12-13, 74, 76; as “The Prowler” in Guy 5.5 (October 1967): 14-15, 66, 68.

“Stop Off.” Man’s Life 5.3 (May 1957): 30-31, 72-74.

Reprinted as “She Opened the Door to Murder” in Real Men 12.10 (February 1969): 34-35, 42, 44-46.

“The Price of Pride.” Triple Western 18.3 (Summer 1957): 81-87.

“I’ll Be in the Bedroom.” Trapped Detective Story Magazine 2.1 (June 1957): 70-78.

“Bothered.” Manhunt 5.7 (July 1957): 9-11.

Reprinted in American Pulp, ed. Ed Gorman, Bill Pronzini, and Martin H. Greenberg (New York: Carroll & Graf, 1997), 409-415.

“Smelling Like a Rose.” Mr. 1.6 (July 1957): 38-40, 48-50.

“Old Times.” Murder!: Thrilling Crime Fiction 1.4 (July 1957): 15-17.

“That Damned Piper.” Pursued: Exciting Crime Fiction 1.4 (July 1957): 37-42.

“High Heels and Kisses.” True Men Stories 1.6 (August 1957): 38-39, 58, 60.

“The Glass Eye.” Guilty Detective Story Magazine 2.2 (September 1957): 79-86.

1958

“Meet Me in the Dark.” Manhunt 6.2 (February 1958): 13-23.

“Death of a Prowler.” Trapped Detective Story Magazine 2.6 (April 1958): 48-56.

“Getaway Money.” Guilty Detective Story Magazine 3.3 (November 1958): 67-74.

1959

“Redheads Die Quickly.” Mystery Tales 1.3 (April 1959): 117-128.

“This Petty Pace.” Mystery Tales 1.4 (June 1959): 66-77.

“Harlot House.” Mystery Tales 1.5 (August 1959): 23-33.

1960

“My Murderer, My Lover.” Men: The Adventure and Entertainment Magazine 9.8 (August 1960): 19-21, 88-97.

Condensed from Brewer’s novel Angel (New York: Avon, 1960).

1961?

“Lady for Rent.” Playtime: The New Fun Magazine for Males! 1.1 (1961?): 38-42.

1964

“That French St. Woman.” Man’s World 10.1 (February 1964): 14-15, 88-97.

Condensed from Brewer’s novel 13 French Street (New York: Gold Medal, 1951).

“Backwoods Tease.” Men 13.2 (February 1964): 19-21, 92-101.

Condensed from Brewer’s novel The Brat (New York: Gold Medal, 1957).

1965

“Beyond the Vineyard.” Swank 12.1 (March 1965): 50-52, 54.

“Cop.” Mike Shayne Mystery Magazine 17.2 (July 1965): 40-58.

1966

“Indiscretion.” Swank 13.2 (March 1966): 12-14, 76.

Reprinted in A Devil for O’Shaugnessy/The Three-Way Split (Eureka, CA: Stark House, 2008), 173-176.

“Killer’s Love Slave.” Men 15.9 (September 1966): 20-23, 86-97.

Condensed from Brewer’s novel The Hungry One (New York: Gold Medal, 1966).

“Memory of a Hanging Man.” Topper (September 1966): 32-34, 74-76.

“Ransom for a Hot-Blooded Hooker.” Complete Man Magazine 6.5 (December 1966): 18-19, 70-81.

Condensed from Brewer’s novel Wild to Possess (Derby, CT: Monarch Books, 1959).

1967

“Beach House Tramp.” Male Annual 5.5 (1967): 12-15, 113-129.

Condensed from Brewer’s novel The Tease (New York: Banner, 1967).

“Phone Call.” Adam Bedside Reader 1.30 (August 1967): 70-73.

“Midnight.” Sportsman (August 1967): 26-28, 72-73.

“Let Me Be First.” Swank 14.10 (December 1967): 13-15, 74.

1968

“Good-Bye Now.” Alfred Hitchcock’s Mystery Magazine 13.7 (July 1968): 86-93.

Reprinted in Get Me to the Wake on Time, ed. Alfred Hitchcock (New York: Dell, 1970), 11-19.

1969

“Sympathy.” Mike Shayne Mystery Magazine 25.1 (June 1969): 125-128.

“‘You Got So Much—I Want a Piece!’” Escapade 14.9 (September 1969): 13-15.

Reprinted in Caper 14.3 (July 1970): 51-53.

“The Mountain Kid.” Zane Grey Western Magazine 1.1 (October 1969): 113-119.

“Swing with Me.” Caper 13.12 (October 1969): 36-37, 68-69, 71-72.

“Trick.” Alfred Hitchcock’s Mystery Magazine 14.11 (November 1969): 115-120.

Reprinted in Coffin Break, ed. Alfred Hitchcock (1974; New York: Dell, 1985), 31-38.

“Pawnee.” Zane Grey Western Magazine 1.3 (December 1969): 112-124.

1970

“Small Bite.” Alfred Hitchcock’s Mystery Magazine 15.2 (February 1970): 110-115.

1971

“I’ll Never Tell.” Swank 18.5 (June 1971): 12, 14, 44.

“Love . . . and Luck.” Cavalier 21.9 (July 1971): 66-67, 69-70.

Reprinted in Cavalier Yearbook (“1973 edition”), 66-68, 74; A Devil for O’Shaugnessy/The Three-Way Split (Eureka, CA: Stark House, 2008), 166-172.

1972

“Token.” Mike Shayne Mystery Magazine 31.1 (June 1972): 121-125.

1973

“Peccadillo.” Mike Shayne Mystery Magazine 32.6 (May 1973): 47-53.

1974

“I Apologize.” Mike Shayne Mystery Magazine 34.3 (February 1974): 45-49.

“Investment.” Mike Shayne Mystery Magazine 34.4 (March 1974): 58-65.

“Blue Moon.” Mike Shayne Mystery Magazine 34.5 (April 1974): 67-73.

“Mother.” Mike Shayne Mystery Magazine 35.2 (July 1974): 91-97.

1975

“Deadly Little Green Eyes.” Mike Shayne Mystery Magazine 36.2 (February 1975): 54-83.

“Cave in the Rain.” Ed McBaines [sic] 87th Precinct Mystery Magazine 1.4 (April 1975): 99-105.

“Brother Bill.” As by Jim Beard on table of contents. Don Pendleton’s The Executioner Mystery Magazine 1.4 (April 1975): 88-94.

“Love-Lark.” Don Pendleton’s The Executioner Mystery Magazine 1.4 (April 1975): 49-56.

“Spaghetti.” As by John Harding on table of contents. Don Pendleton’s The Executioner Mystery Magazine 1.4 (April 1975): 70-75.

“The Gentle Touch.” Don Pendleton’s The Executioner Mystery Magazine 1.5 (May 1975): 40-48.

“A Waking Dream.” Ed McBain’s 87th Precinct Mystery Magazine 1.5 (May 1975): 98-104.

“Live Bait.” Don Pendleton’s The Executioner Mystery Magazine 1.6 (June 1975): 105-110.

“Upriver.” Ed McBain’s 87th Precinct Mystery Magazine 1.6 (June 1975): 97-105.

1976

“The Getaway.” Mystery Monthly 1.1 (June 1976): 58-66.

Reprinted in The Mammoth Book of Pulp Fiction, ed. Maxim Jakubowski (New York: Carroll & Graf, 1996), 138-145. This collection was reprinted as Pulp Fiction by Castle Books in 2002.

“The Thinking Child.” Mystery Monthly 1.4 (September 1976): 38-50.

“I Was a Teaser for the Cops.” Uncredited. Romantic Secrets 1.1 (December 1976): 44-47.

“Swamp Tale.” Mystery Monthly 1.7 (December 1976): 40-47.

1977

“The Taking of Cherry.” Stag 28.2 (February 1977): 58-59, 70, 72-73.

Reprinted in Man’s Epic 7 (1978): 24-26, 66.

“Hit.” Alfred Hitchcock’s Mystery Magazine 22.6 (June 1977): 28-32.

“That Night in Jinny’s Bed.” Men 26.6 (June 1977): 56-61.

“Sunset.” Gallery 5.8 (July 1977): 56-58, 122, 124, 126, 128-129.

1978

“Family.” Alfred Hitchcock’s Mystery Magazine 23.3 (March 1978): 54-61.

1979

“The Closed Room.” Alfred Hitchcock’s Mystery Magazine 24.4 (April 1979): 88-96.

1983

“Fool’s Gold.” Alfred Hitchcock’s Mortal Errors, ed. Cathleen Jordan (New York: Dial, 1983), 156-160.

2011

“Sweet Amy.” 1981. Needle: A Magazine of Noir 2.2 (Fall 2011): 64-72.

5 Quick Questions with Kirk Curnutt

Noir novelist Kirk Curnutt is also an expert on F. Scott Fitzgerald. His works of literary criticism include A Historical Guide to F. Scott Fitzgerald (editor, 2004) and The Cambridge Introduction to F. Scott Fitzgerald (2007). His novels are Breathing Out the Ghost (2007) and Dixie Noir (2009).

1. What’s the first crime novel that you remember reading?

The first crime book was Ed Sanders’ The Family, the first Charles Manson history, soon overshadowed by Helter Skelter but in many ways a much more interesting work because Sanders (of the Fugs, of course) was a counterculture icon. I read it at about ten years old, and it scared the bejeepers out of me. The style is still so freakily Beat it’s disturbing. But fiction-wise, I was a huge Erle Stanley Gardner fan. This was mainly because there was a paperback trade shop in downtown Midland, Michigan, where I grew up, and as my mother and her friends were slipping Fear of Flying into brown-paper sacks I could nab used copies of The Case of the Vagabond Virgin or The Case of the Cautious Coquette for twenty-five cents. These were novels that could usually be read in the same span it took to watch a Perry Mason episode. But the downside of bingeing on Gardner was that it left me addictively attached to alliteration in my own writing.

2. Hammett or Chandler?

Tough call, but I’m going with Hammett, in part because he could rock a prematurely gray coif, something I had to come to grips with before I hit forty. Chandler’s plots are a little too tangled for me. I usually lose the thread about two-thirds of the way through. My favorite Hammetts are Red Harvest and The Glass Key. Plus the story “The Second Story Angel” from Nightmare Town—a pretty witty piece of metafiction on the competitive noir market in the golden age. (It’s online at http://arthursclassicnovels.com/hammett/secstor10.html.)

3. What the noir-est thing that F. Scott Fitzgerald ever wrote?

Fitzgerald actually ceded to the noir voice in the late 1930s when he realized his brand of romanticism was a done deal. He didn’t write crime fiction, but he did hardboil his style for Esquire, something he had resisted for a long time because doing so signaled his acknowledgment that the Hemingway school of minimalism had won out. There is an interesting if virtually unknown story Fitz did called “On an Ocean Wave” that I think deserves more attention. It was published shortly after his death under the pseudonym “Paul Elgin.” It was probably at the printer when he keeled, to be honest. Then there is a piece called “Shaggy’s Morning” that is generally considered one of the worst things he ever did. It’s actually not that bad if you read it as a parody of noir. It’s told from the perspective of a dog—seriously. Just to give the flavor: “I woke up after a lousy dream and as soon as the old beezer came alive I went around the yard trying to pick up something interesting but the wind was too strong. There was an old biscuit in my dish and if there’s anything gloomier than one dead biscuit on a windy morning I don’t know about it.” That’s (sorta) funny!

4. What’s the noir-est thing about the South?

It might be easier to list all the things that aren’t noir-y. I’m not sure sweet tea is noir. Or the Marshall Tucker Band—they weren’t either. But I think “the burden” as we all call it is a good umbrella term for the underbelly. To me Southern guilt and complicity are best manifest in the politics, especially when it comes to racial issues. Most certifiably Southern cities struggle to resolve the opposing legacies of the Civil War and Civil Rights. Those two historical forces create a gyre that has a lot of noir potential—I think Attica Locke’s Black Water Rising is a great example of how that drama can be realized (though BWR isn’t pulpy noir but more straightforward crime fic). There’s also an element of exaggeration in the Southern character that expresses the kink of noir very nicely. You look at some of the more flamboyant personalities that continue to rise in the South and they make Popeye in Faulkner’s Sanctuary look dull. Frank Melton, who was mayor of Jackson, Mississippi, from 2005-09—and voted the worst mayor in America during his one staggeringly corrupt term—seemed to have stepped straight out of a noir novel. He died on election night when he realized he wouldn’t get reelected! Chester Himes could not have created that guy and made him any more realistic.

5. What famous noir novel does your novel Dixie Noir most resemble?

Wow—really tough question. I’d hate to reveal all the sources I ripped off. . . .I was trying to write a corrupt-city noir, a sort of Southern LA Confidential. I wouldn’t say Dixie resembles that book, though. I wanted a page-turner instead of a wide-screen panorama. Maybe some Red Harvest in there, along with some Sanctuary. You know, the more hallucinatory type of noir where the violence seems almost phantasmagoric.

Pulp Poem of the Week

What could he do?

I don't know.
He used to be dead,
and now he isn't.
I don't know
what he could do.

Richard Stark
The Hunter
1962

Review: Richard Stark, The Seventh (1966)

The heist itself is an afterthought in the seventh Parker novel because all the problems come after the fact. After the robbery goes flawlessly, Parker is in charge of guarding the loot until time comes to divvy up with his partners, but when he steps out for ten minutes to buy beer and cigarettes, he steps back in to find the money gone. And his girl dead, too. What follows is typical Parker as problem-solver—up until the point when Parker's judgment fails him and makes a colossally brazen and unnecessary gambit. But this one of the things that gives the ongoing cartoon of Parker's life the air of reality: Parker isn't perfect. Sometimes, in fact, he can be quite stupid. Grade: B-

Book Review: Dave Zeltserman, Pariah (2009)

As an example of noir, Dave Zeltserman’s Pariah, the second installment in his man-out-of-prison trilogy, is a cross between Don Tracy’s Round Trip (1934) and Jason Starr’s Fake I.D. (2000). Like Round Trip, the structure of Pariah is episodic. There are several plot elements in the first three-quarters of the novel (including a revenge plot, some family psychodrama, a kidnapping, and a trial), any one of which could have been the foundation of a thriller with a conventional plot arc. But, as in Round Trip, the plot wanders, trading narrative tension for a heightened sense of realism. The major difference between Round Trip and Pariah is that the protagonist of Tracy’s novel, Eddie Magruder, is basically a sympathetic character, while the protagonist of Zeltserman’s novel, Kyle Nevin, is fairly loathsome from the moment the novel begins. Thus, like Jason Starr with Tommy Russo, the unsympathetic protagonist of Fake I.D., Zeltserman takes a chance that he can make readers care enough about the fate of an unlikeable character to keep reading. Combine this risk with the risky plot structure, and Pariah becomes a noir high-wire act. But if Zeltserman gets you across the wire, you will be rewarded at the other side. Grade: B-

5 Quick Questions with Lee Horsley

Lee Horsley, Reader in Literature and Culture at Lancaster University, is among the leading experts in noir fiction. Her books include The Noir Thriller (2001; expanded paperback edition, 2009), Twentieth-Century Crime Fiction (2005), and The Blackwell Companion to Crime Fiction (co-editor, 2010).

1. What was the first noir thriller?

Jacobean revenge tragedies have a good claim to be the first noir thrillers. But, limiting myself to the 20th century, the most obvious answer is probably the best: Hammett's first novel, Red Harvest (1929), is both noir and hard-boiled, and is one of the key turning points in American crime writing.

2. What is the first noir thriller that you remember reading?

Faulkner's Sanctuary: when I was about fourteen, I read it at a single sitting, shocked, fascinated and utterly gripped by it. And then I hid it from my parents.

3. What is your favorite noir thriller?

Here are a few of the novels that come to mind. Some of them elude neat generic categorisation: that's one of the reasons they're so good. Woodrell's Death of Sweet Mister, Hjortsberg's Falling Angel, Hughes' Ride the Pink Horse, Womack's Random Acts of Senseless Violence, Charlotte Carter's Walking Bones, Charles Williams’ Hell Hath No Fury. But that list leaves out way too many all-time favourites by writers like McCoy, Goodis, Willeford, Thompson, Brewer, Whittington, Highsmith. . . . Sorry, just too difficult a task to pick one!

4. If it has a happy ending, can it be noir?

Not if it has a conventionally resolved, unequivocally happy ending. But it can still be noir even if it ends with a glimmer of light, some temporary respite, a bitter-sweet, ironised victory, or a transgressor's fleeting hope for the future . . . the end of The Talented Mr. Ripley, where Tom instructs the taxi driver to take him to "il meglio albergo"; or the final paragraphs of Megan Abbott's Queenpin, in which her protagonist reflects on the promotion she is being offered - "Say good-bye to all that? Who did I think I was fooling? . . . 'I'm your girl,' I said."

5. Excluding your own work, what is the most important work of literary criticism concerning noir?

I really admire some of the recent books about hard-boiled fiction, which of course also have important things to say about noir: Sean McCann's Gumshoe America; Erin Smith's Hard-Boiled; Christopher Breu's Hard-Boiled Masculinities. And, a decade or two earlier, the book that did more than any other to introduce me to pulp fiction: Geoffrey O'Brien, Hardboiled America: Lurid Paperbacks and the Masters of Noir.

Pulp Poem of the Week

Is it logical
to suppose that
a man would
be ignorant of
the identity of
his wife's dentist?

Martin M. Goldsmith
Double Jeopardy
1938

Book Review: Richard Stark, The Jugger (1965)

Parker is a problem-solver, and usually these problems arise in the course of planning and committing robberies. In The Jugger, however, Parker's problems are the residual result of a life of crime. Sometimes, Parker must solve problems not to earn money but just to stay out of jail. The staying-out-of-jail Parker is less interesting than the earning-money Parker, but Parker is always Parker, which is to say that The Jugger is a good read. Grade: B

Book Review: Tiffany Thayer, Five Million in Cash (1932)

First, a note about how I came to read this book: I saw a reference to Tiffany Thayer as an early hardboiled writer, and, knowing of Thayer only as the founder of the Fortean Society, I was curious to read one of his hardboiled books. Trolling around the internet, however, I couldn't find anything that I trusted as an authoritative list of his work, and I ended up in Stanford's Copyright Renewal Database. There I found, among the novels copyrighted by Thayer, Five Million in Cash, which the database indicated had been published under the pseudonym of O. B. King. This seemed promising, and it was cool to discover, upon further research, that no one (prior to this!) seems to have connected Thayer to this novel. So you heard it here first, folks.

And now about the book: Ben Flinders, an ordinary guy who works as a car painter in New York City, gets out of bed one morning and finds himself standing ankle-deep in money. He has no idea where the money came from, but he decides that he will keep it. After this, he proves to be somewhat skillful and more than somewhat lucky as he negotiates life on the run from two warring mob bosses. Published in 1932, Five Million in Cash is a clear forerunner to the Everyman noir that became a Gold Medal staple in the 1950s, but with one crucial difference: Though the novel features numerous shoot-outs and much bloodshed, its voice is so breezy that it is impossible to imagine that Ben is ever in any real danger. Lightweight, but enjoyable. Grade: B

Some Things Were Just Meant to Be

I was recently participating in a friendly Trivial Pursuit Team game, and my team got the category of "Noir Novels." Of course, I was immediately accused of somehow having cheated, though it was difficult for my accusers to say exactly how I could have engineered the universe to get this category for my team. The answers were Dashiell Hammett, Thomas Harris, and James M. Cain. You may now all write your own questions.

Pulp Poem of the Week

He remembered one time
in Cincinnati. It was Hallowe'en
and the streets were crowded
with masqueraders. He was broke,
flat broke. He hadn't shaved
for two days and he looked tough.
Someone accidentally tripped him
and he bumped into a pretty girl
in a clown suit. The man with her said:
"What the hell you trying to do,
you dirty bum!" He knocked the man
down and ran. Several of the man's
friends chased him, but he got away.

W. R. Burnett
The Silver Eagle
1931

Pulp Poem of the Week

The smallness of

the truth

can rub

the mind wrong.

Daniel Woodrell

Tomato Red

1998

Book Review: Richard Stark, The Score (1964)

In The Score, Richard Stark plays to the greatest strength of the Parker series: His ability to imagine, in fascinating and believable detail, the working life of a professional thief. The narrative focuses tightly on the planning, execution, and immediate aftermath of Parker leading a gang of men into Copper Canyon, North Dakota, to rob the town—or at least as much of the town as is worth robbing. Of the first five Parker novels, The Score is the purest and most self-assured. Grade: A

Book Review: Ryu Murakami, Coin Locker Babies (1984)

Noirish psychological realism + surrealistic whimsy = tedium.
Grade: D+

5 Quick Questions with Dave Zeltserman

Dave Zeltserman is probably best-known to noirboiled fans for Small Crimes (2008), Pariah (2009), and Killer (2010), his series of novels about men just out of prison. His most recent books include The Caretaker of Lorne Field and 21 Tales (both 2010).

1. What’s the first crime novel that you remember reading?

Well, not counting the Freddy the Detective, I was 13 when I read I, the Jury by Mickey Spillane, and that got me hooked on crime fiction.

2. Which crime novel have you read the most times?

Other than Hammett, I usually don't read any novel more than once. I did read A Hell of a Woman many times, but that was more to study how Jim Thompson did what he did with that book, although it is one of my favorites.

3. Black Mask or Manhunt?

Black Mask. I'm a huge Hammett fan.

4. John D. MacDonald or Ross Macdonald?

Ross Macdonald. I read all the Lew Archer's when I was high school, and early on wrote really bad Lew Archer-type stories until I found my voice. The first incarnation of what eventually became Fast Lane was written as a Lew Archer-like novel.

5. What’s the best novel by Dave Zeltserman?

My best published crime novel is Killer. My best published novel is The Caretaker of Lorne Field. My best novel (although still unsold) is something called Monster.

Pulp Poem of the Week

Nobody has to say
nothing about a drunk.
A drunk is a drunk.
You just don't spell it
any other way.

Ed McBain
Big Man
1959

Pulp Poem of the Week

If you put
One million monkeys
In a room with
One million typewriters
Sooner than you think
The monkeys will use
Those typewriters to
Kill each other.

David Rachels
Verse Noir
2010