An Irish-American Legend: Mickey Spillane

March 18th, 2025 by Max Allan Collins

I am in the midst of a project (the nature of which I’ll share here soon), so this will be a short update, at least on the news side.

It’s St. Patrick’s Day 2025 as I write this, and how better to celebrate that (sort of) holiday than to share with you this nice article on Mickey Spillane from Casa Carlini. I rate a single mention – not exactly accurate – but that doesn’t take away from what a nice piece this is…even I do wish there’d been mention of the current Baby, It’s Murder, the final Hammer novel of the fifteen books I’ve fashioned from partial manuscripts and synopses entrusted to me by Mickey himself in his final days.

Mickey Spillane in 2001
Hard-Boiled and Unforgettable:
The Legacy of Mickey Spillane

Mickey Spillane, the literary titan of hard-boiled crime fiction, left an indelible mark on the world of detective stories. His name is synonymous with gritty narratives, tough-as-nails protagonists, and a writing style that punches you in the gut. But Spillane’s legacy is more than just a collection of thrilling tales—it’s a testament to the enduring appeal of raw, unfiltered storytelling. In this deep dive, we’ll explore the man behind the typewriter, the cultural impact of his work, and why his stories continue to captivate readers decades later.

The Man Behind the Mike Hammer Mysteries

Mickey Spillane, born Frank Morrison Spillane in 1918, was a man who lived as boldly as the characters he created. Before he became a literary sensation, Spillane dabbled in various careers, including as a circus performer and a fighter pilot trainee during World War II. But it was his foray into writing that cemented his place in history.

Spillane’s breakout character, Mike Hammer, debuted in I, the Jury (1947), a novel that set the tone for his signature style. Hammer wasn’t your typical detective—he was a vengeful, no-nonsense antihero who operated by his own moral code. Spillane’s writing was fast-paced, visceral, and unapologetically violent, a stark contrast to the more polished detective fiction of the time.

The Hard-Boiled Revolution

Spillane didn’t just write crime novels; he revolutionized the genre. His work was a departure from the cerebral whodunits of Agatha Christie or the suave sophistication of Raymond Chandler’s Philip Marlowe. Instead, Spillane’s stories were raw, emotional, and often controversial. He didn’t shy away from depicting the darker side of human nature, and his protagonists were flawed, complex, and deeply relatable.

The term “hard-boiled” perfectly encapsulates Spillane’s approach. His stories were tough, gritty, and unflinching, much like the detectives who populated them. Mike Hammer wasn’t just solving crimes—he was navigating a world of corruption, betrayal, and moral ambiguity. This realism resonated with readers, making Spillane one of the best-selling authors of the 20th century.

Controversy and Criticism: Love Him or Hate Him

Spillane’s work wasn’t without its detractors. Critics often dismissed his novels as overly violent, misogynistic, or sensationalistic. Some accused him of prioritizing shock value over literary merit. But Spillane didn’t care. He famously quipped, “I don’t have fans. I have customers.” His focus was on entertaining his readers, not winning over the literary elite.

Despite the criticism, Spillane’s influence on the crime fiction genre is undeniable. His work paved the way for later authors like Elmore Leonard, James Ellroy, and even modern-day thriller writers. He proved that crime fiction could be both commercially successful and culturally significant.

Mike Hammer: The Antihero We Can’t Forget

At the heart of Spillane’s success was Mike Hammer, the quintessential hard-boiled detective. Hammer was a man of contradictions—brutal yet compassionate, cynical yet idealistic. He wasn’t afraid to bend the rules (or break them) to achieve justice, and his relentless pursuit of the truth made him a compelling character.

Hammer’s popularity extended beyond the pages of Spillane’s novels. He became a cultural icon, appearing in films, television shows, and comic strips. Actors like Darren McGavin and Stacy Keach brought Hammer to life on screen, each adding their own interpretation to the character. Even today, Mike Hammer remains a symbol of the hard-boiled detective archetype.

Spillane’s Writing Style: Punchy, Provocative, and Unforgettable

One of the hallmarks of Spillane’s writing was his ability to grab readers from the very first sentence. His openings were often explosive, setting the tone for the rest of the story. For example, the first line of I, the Jury is iconic: “I shook hands with the man whose brother I’d killed.” It’s a masterclass in hooking the reader and establishing the stakes.

Spillane’s prose was lean and mean, with no room for unnecessary flourishes. He had a knack for dialogue that crackled with tension and descriptions that painted vivid pictures with just a few words. This economy of language made his stories fast-paced and immersive, keeping readers on the edge of their seats.

The Cultural Impact of Mickey Spillane

Spillane’s influence extends far beyond the world of literature. His work helped shape the cultural landscape of mid-20th century America, reflecting the anxieties and complexities of the post-war era. The themes of his novels—corruption, justice, and the struggle between good and evil—resonated with a society grappling with rapid change.

Moreover, Spillane’s success demonstrated the power of genre fiction. At a time when literary snobbery often dismissed popular fiction as inferior, Spillane proved that genre writing could be both commercially viable and artistically significant. His legacy paved the way for future generations of genre authors to be taken seriously.

Spillane’s Later Years and Enduring Legacy

Even in his later years, Spillane remained a prolific writer. He continued to produce novels, short stories, and even comic books, proving that his creative spark never dimmed. In the 1990s, he collaborated with Max Allan Collins to complete several unfinished manuscripts, ensuring that his work would continue to reach new audiences.

NOTE FROM M.A.C.: Mickey and I did projects during his later years, from the Mike Danger comic book to numerous co-edited anthologies. The unfinished manuscripts were addressed after his passing, and represent posthumous works with considerable Spillane content.

Spillane passed away in 2006, but his legacy lives on. His novels are still widely read, and his influence can be seen in everything from modern crime fiction to film and television. The hard-boiled detective archetype he helped popularize remains a staple of popular culture, a testament to the enduring power of his storytelling.

Why Mickey Spillane Still Matters Today
In an age of complex antiheroes and morally ambiguous narratives, Mickey Spillane’s work feels more relevant than ever. His stories remind us that the line between right and wrong isn’t always clear, and that justice often comes at a cost. Mike Hammer may not be a traditional hero, but his unwavering commitment to his own code of ethics makes him a compelling figure.

Spillane’s writing also serves as a reminder of the power of storytelling. In a world saturated with content, his novels stand out for their raw emotion, gripping plots, and unforgettable characters. They remind us why we fell in live with crime fiction in the first place.

A Hard-Boiled Legend
Mickey Spillane was more than just a writer—he was a cultural force. His work redefined the crime fiction genre, introduced us to one of literature’s most iconic detectives, and proved that storytelling doesn’t need to be polished to be powerful. Whether you love him or hate him, there’s no denying the impact of Mickey Spillane.

So, the next time you pick up a gritty crime novel or watch a noir film, take a moment to appreciate the man who helped make it all possible. Mickey Spillane may have been hard-boiled, but his legacy is anything but forgettable.

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J. Kingston Pierce at the indispensable Rap Sheet recommends Baby, It’s Murder as one of the most interesting of recent mystery novels. He also provides a link to Borg’s splendid review of the book, if you missed it.

A very good look at Road to Perdition (primarily the film version) is here.

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True Noir banner

Director Robert Meyer Burnett’s eighth episode of True Noir: The Assassination of Mayor Cermak has just dropped, and it’s a banger, as Rob himself might say. Probably the most impressive episode in terms of sound design if nothing else. And we’re in the home stretch now! Two episodes to go….

M.A.C.

New Nathan Heller and Mike Hammer…and Blue Xmas on Tubi!

March 11th, 2025 by Max Allan Collins

There’s a new Nathan Heller book you may not have heard about. The title in fact is Nathan Heller, and it’s an 85-page novel-by-novel account of me interviewing Mr. Heller. Anyone interested in the Heller novels will want to read this, and will surely get a kick out of it.

It’s available in three forms – a paperback at $8.95 (such a deal!) and signed/numbered at $50 and signed/lettered at $100. Nathan Heller is the latest in a series of profiles of mystery fiction detectives selected by Otto Penzler and published by Mysterious Press. Among the others in this series are Lee Child’s Jack Reacher, Michael Connelly’s Hieronymous Bosch, Jeff Deaver’s Lincoln Rhyme and Colin Dexter’s Inspector Morse, among many other celebrated authors and sleuths in this unique series.

The format varies among these profiles, but I chose to interview Nate Heller, the conceit being these are excerpts of interviews with him I recorded over the years to help me ghost-write his memoirs.

I’m grateful to Otto Penzler for giving Nate Heller and me a place on this impressive list. Otto is a key figure in the mystery trade – he’s an editor, publisher and a pioneer in the mystery book store field. He edited and published the first three Mike Hammer novels by me working from Mickey’s material-in-progress (The Goliath Bone, The Big Bang and Kiss Her Goodbye), as well as the Spillane/Collins Mike Hammer short story collection, A Long Time Dead.

You can get Nathan Heller by Max Allan Collins right here.

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Hardcover:
E-Book: Amazon Google Play Nook Kobo iTunes

Digital Audiobook: Google PlayNook Kobo iTunes
Audio MP3 CD:
Audio CD:

And as far as Mike Hammer is concerned, the final novel in the series was just published by Titan Books. Baby, It’s Murder can be ordered from the usual suspects, and the audio book read by the great Stefan Rudnicki is available at Audible and other venues for audio books.

Stefan, who also reads the Quarry novels (and does a bang-up job of it) took over after Stacy Keach stepped down after a long run.

For those of you who prefer a physical media version of Baby, It’s Murder, and not an audio download, there’s always the book itself using the audio book option at Amazon.

Speaking of Baby, It’s Murder – the concluding Mike Hammer novel – Borg has reviewed it very generously here.

And in case you missed it, here’s the splendid Kirkus review of Baby, It’s Murder.

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By the time you read this, the eighth episode of True Noir: The Assassination of Anton Cermak should have dropped. We are closing in on the finish. Director Rob Burnett has edited chapters nine and ten, with only the final mix ahead.

Rob has done an incredible job on this project, serving as director, editor, and producer. We are discussing other projects in the True Noir series including more of our fully immersive adaptations of the Heller novels, with True Crime and The Million-Dollar Wound the likely candidates. We are discussing a Nate Heller movie, as well. Early days on that, but I’ll be scripting it very soon, which is the first step.

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Many thanks to all of you who left birthday wishes either here at F.O.M.A.C. or at the various Facebook sites where I post my weekly update/blog. I tried to answer or at least “like” all of those kind wishes, but frankly the number was too great. I ran out of steam before all of you did.

But my thanks are no less sincere. I seem to have lost only one reader (at least one who was vocal) after I posted a mildly political meme last time. I have no intention of getting political here, but sometimes enough is just enough.

Still, I want to keep this a politics-free zone. Early on I got vocal on Facebook and lost some friends or at least damaged some friendships. Social media has not improved our lives, and certainly has damaged our civility.

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With my buddy Heath Holland of Cereal at Midnight I’ve done a show about some of my favorite comedy movies. It’s right here.

Finally, if you never got around to watching Blue Christmas last year, or buying the DVD or Blu-ray, it’s free on Tubi starting today, March 10. Check it out here.

M.A.C.

We All Have It Coming

March 4th, 2025 by Max Allan Collins

Today’s update/blog will be very stream of consciousness.

I am writing it on March 3, 2025, my 77th birthday. My father died on his 78th birthday, so I sense the clock ticking. Loudly. Memories are flooding in like the water of the terribly tepid bath I took this morning. My memory is selective – I have few vivid memories, rather many more sketchy ones. Ask Terry Beatty, my longtime collaborator, who has had to put up with my smear of a memory more than most. My wife Barb is probably relieved she doesn’t have to hear more about what little I remember.

This will be about loss. The list of key players in the drama of my life who’ve already had a final curtain call is a long one. Bruce Peters, the greatest rock ‘n’ roll showman I ever had the honor and difficulty of appearing with. Paul Thomas, my closest friend in the many years of playing rock ‘n’ roll. Michael Cornelison, the actor who was at times a troubled soul but usually a smart, positive one who starred in four of my indie movies and narrated my two documentaries. There are others, too many others; but these three stand out.

I am going to give myself a present. I rarely talk politics here. It’s a combination of respecting the opinions of others and cravenly not wanting to lose any readers. But I am allowing myself the following little joke:

Farkus 
 and Dill in A Christmas story
President Donald Trump and V.P. J.D. Vance prepare to welcome President Zelensky

If this offends you deeply, we are so on opposite pages that you are invited never to read me again. I have, on several occasions, requested that disgruntled readers not put my words into their brain, even temporarily. I hate to see you go but don’t let the screen door (you know the rest).

Before I start rambling on this and that, I will pause to say how much I love my wife Barb and what an incredible partner in every phase of my adult life she has been – beautiful, smart, funny, and supportive. When I was in the hospital in 2016 for open-heart surgery, for two-and-a-half weeks, she was there every day. The follow-up surgery a year later, she was there. Every procedure that followed, she was there. She also is excellent at putting me in my place.

Plus she gave me my son Nate, who gave me my grandson Sam and granddaughter Lucy, all three gifts that keep on giving.

Well, that’s out of the way, so let’s talk about Larry Coven.

Larry passed away recently. I met him under unusual circumstances. Barb and I loved Second City in Chicago, the great improv comedy theater where we once saw the cast that largely became that of SCTV. Larry was in the strongest cast I ever saw at Second City, including that storied Canadian one. He shared the stage with George Wendt, Tim Kazurinsky, Mary Gross, Jim Belushi and Danny Breen, all of whom went on to later fame in movies and television, from Cheers to Saturday Night Live and many movie and national TV appearances.

At one of these performances, Barb and I were in Chicago for an early comics convention at the Congress Hotel…I think it was still the Pick-Congress then. To my astonishment, Larry Coven was there. He turned out to be a book and comics dealer, and was a little wary of me because my Second City enthusiasm was on the psychotic side.

But we hit it off and stayed in touch – not regularly though more than just an acquaintance sort of thing. He was amused by my Spillane enthusiasm but respected my right to have it. I asked him, in 1995, to take a small role for me in my Mommy sequel, Mommy’s Day. He appeared as an ominous doctor who gave Patty McCormack as Mommy a dose of something to curtail her homicidal tendencies. This appearance was a generous one, but so was Larry’s delivering the legendary Del Close to me for another role in the film.

Close turned out to be a book enthusiast and a (I can’t believe this even today) fan of mine. Whenever a true Chicagoan endorsed Nate Heller, that was a big deal to me. Del took the role in Mommy’s Day in part because Mickey Spillane was in it and Del wanted to meet this very famous writer and get his Spillane books signed.

Larry took on a much bigger role in my little indie Real Time: Siege at Lucas Street Market, playing the upbeat clerk whose quiet evening was disrupted by armed robbers. He brought an improvisational touch to the proceedings (“We have some fine Hostess products”) and true professionalism. He had appeared in several other films and on lots of TV. His presence in the cast, which otherwise included mostly inexperienced or local actors, set a high standard and encouraged good performances around him.

If you haven’t seen Real Time: Siege at Lucas Market (and there are enthusiasts of that odd little production), it was my first but not last attempt to get a movie made on spit and chewing gum. Our budget was $10,000. I presented it as a found-footage movie, but it was really tightly scripted, with room for Larry to work a little magic. It came to be after the success of the two Mommy movies was scuttled by a “friend” who was also my producer, and who stole most of the money.

This led to my two documentaries, and the $10,000 production of Eliot Ness: An Untouchable Life (with Mike Cornelison, who had considerable Hollywood success for about a decade, appearing on Hill Street Blues, World’s Greatest American Hero and helming three pilot movies, among much else, including a memorable role in Albert Brooks’ Lost in America). Two more recent movies of mine have also been micro-budget affairs (Blue Christmas, also a ten-grand wonder, and the slightly higher budgeted Death By Fruitcake). It was tough getting through both of them without Mike Cornelison in the mix.

Larry would call me whenever I had a novel out – which is often! – and requested that he might send me books of mine to sign, one for himself and another batch for his customers (he was a book dealer, remember). What a bright, funny presence he was. Hearing from him was always a joy. I was lucky to have known him.

Another passing is less personal but has a resonance I’ll share with you (and, yes, I’ve written about this before).

The film Bonnie and Clyde was extraordinarily influential on me. It re-sparked my interest in Prohibition-era crime, initially created by the Untouchables TV series. All of this, plus my Dick Tracy interest, led me down the path to writing historical crime fiction, notably True Detective, currently getting a new lease on life thanks to director Rob Burnett’s True Noir: The Assassination of Anton Cermak, the fully immersive audio drama written by me.

Bonnie and Clyde was, and is, a great movie. But I was particularly taken, as were so many others, by an unknown actor’s portrayal of Clyde’s brother Buck. As much as I loved virtually every element of director Arthur Penn’s film, it was Gene Hackman’s performance as Buck that really stole the show for me. The real-life Buck died by police gunfire in my home state of Iowa, and a famous photo of the crime scene, including the bloodied Buck, was recreated in the film.

As I’ve said here and elsewhere before, my father was no huge movie buff. Max Allan Collins, Sr., was a gifted musician but his movie interest was negligible, and he seemed only to put up with my mother’s keen interest in movies, and his son’s. Dad was a sports fan and I was a disappointment in my preference for going to movie matinees on the weekend and not watching sports with him.

But at my urging he went with me to Bonnie and Clyde, which at that point I’d seen half a dozen times. When the Iowa-set scene with the recreation of Buck’s bloody death came on the screen, he was visibly shaken. An ex-WW 2-era Naval veteran, Dad had never reacted to a movie in this fashion, even one as bloody as Bonnie and Clyde. I asked him afterward why it had affected him so, and he reported that his father (my grandfather) had driven him to the bloody crime scene (not far from their Grand Junction, Iowa, home) to witness the aftermath of what a life in crime could bring. The bloody garments were strewn around in the sort of grove where the gun battle had taken place, as was a bullet-pocked car or two. Dad would have been a young boy when he saw this, but he hadn’t thought of it in years till Arthur Penn put it on screen. That Buck Barrow had been brought to life, and then to die, so effectively, so memorably, had an impact.

Hackman was always a favorite actor of mine, but I couldn’t see him without thinking of Buck Barrow and my youngster-age father. I realize that Hackman’s death, at least as I write this, is shrouded in mystery and unfortunate circumstances. But as Clint Eastwood said in The Unforgiven, a movie with an Oscar-winning performance by Gene Hackman, “We all have it coming, kid.”

At 77 I am very aware that the end is coming for all of us. Some are lucky enough, and hard-working enough, to leave behind them a legacy of work, if not one of the magnitude of movies and novels that Gene Hackman did. And all of us who love great acting are lucky to have been on the planet when Hackman was around.

I should leave it at that, but I can’t help but comment that Barb and I watched, this past weekend, a Hackman film, Bite the Bullet, a terrific, under-appreciated movie that co-stars James Coburn. Seeing those two working together is a master class in film acting.

What I love about this pairing is how Hackman is an actor who learned to be a movie star, and Coburn is a movie star who leaned to be an actor.

I’m glad I was around to see them both.

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If you’re wondering what I want for my birthday, it’s for you to go to truenoir.co and order True Noir: The Assassination of Anton Cermak.

M.A.C.

Another Giveaway – Free Ms. Tree!

February 25th, 2025 by Max Allan Collins

We had a nice response to our book giveaway last week, especially considering The Last Quarry is a reprint (albeit a nice, bigger physically – and content-wise – edition, including as it does two Quarry short stories).

So why not do another giveaway this week?


Paperback: Bookshop Purchase Link
E-Book: Google Play

I’m not sure I’ve ever done a giveaway on any of the Ms. Tree archival volumes. I haven’t been sent anything more than a few author’s comp copies of any of ‘em, and the books are rather weighty – you might say heavy, and I’m not talking about the stories.

But this time around I got a nice box of comps and I’m going to offer copies to the first ten of you people blessed enough with sublime taste to request one. This is the final of six volumes of MS. TREE, Fallen Tree, and like all of the preceding volumes from Titan and Hard Case Crime, it’s a beauty. The covers are strong and evocative by various artists, and all of Terry Beatty’s great covers are present in cover galleries spread out across the books.

[All copies have been claimed. Thank you for your support! –Nate]

You agree to write a review at Amazon and/or Barnes and Noble, and/or any comics-oriented web site. Mystery fiction web sites count, too. If you hate the book, you are released from the obligation of writing a review.

This particular volume features a number of stories where Terry was assisted by cartoonist Gary Kato, who is (I am embarrassed to say) an unsung hero of (particularly the later) Ms. Tree tales. Working out of Honolulu, often in tandem with the talented Ron Fortier on the lively comic book Mr. Jigsaw (among others), Gary continues to draw comics in a career that includes working on Elfquest and children’s books (the Barry Baskerville series) and the recent The Eternal Sword: A Tale of Arthur. He has also illustrated children’s books by Fortier and others, and his collaborators include Barbara Doran.

Gary is a big part of how we were able to keep Ms. Tree going as long as we did. It became necessary for Terry to take on Gary’s assistance when deadlines crushed us, in part because we had other projects come along that could, frankly, keep “starving artists” an expression and not a reality.

And I must salute my friend Terry Beatty, whose talent I’ve believed in from the start and who has proven me right on various non-Collins projects, including becoming the primary inker (and occasional penciller) of DC Comics’ “animated-style” Batman comics, and of course his work on the famous syndicated strips The Phantom and Rex Morgan, MD (he also writes the latter).

When you sit down with one of these archival volumes, you frankly have no idea how difficult it was to keep the ship from taking on water over our nearly decade and a half, sometimes staying barely afloat. The independent comics market exploded in those years, but we were writing the only mystery/crime title out there, pretty much, and we watched sales figures through squinted eyes and with our breaths held. Without Dean Mullaney, Dave Sim, Deni Loubert and Mike Gold we would never have made our record-breaking run.

I must also single out Titan’s Nick Landau and Vivian Cheung (with an assist from Andrew Sumner) for staying after Terry and me to collect this material. Nick, Vivian and I took many breakfast meetings at San Diego Comic Con over the years, discussing collecting Ms. Tree in this format (as well as continuing the Mike Hammer novels). Archival volumes like these – and Terry had to do a lot of work on them, as our materials were not always in good shape – were always a dream of mine, and I think of my collaborator. But we could hardly have imagined what a lovely job Titan would make of it.

Terry and I probably missed the boat a bit, not taking advantage of the Road to Perdition buzz that would have boosted the sales of such archival Ms. Tree volumes. But as I’ve mentioned here before, we had hoped to launch the series with a new Ms. Tree graphic novel. That never happened and is unlikely at this point ever to happen.

I had a pretty good idea for what the graphic novel would be, but I’m not sure doing one would have been a good idea. Ms. Tree – who inspired a layout in Andy Warhol’s Interview magazine – was very much of her time, an ‘80s/’90s phenomenon. Toward the end of the run (in the early ‘90s), a reader dinged me for having Ms. Tree use a key in a hotel room door. Didn’t I know hotels only used key cards now? Well, I suppose on some level I did know. But just as Ms. Tree was a throwback to the 1950s world of Mickey Spillane, I was in co-creating the Ms. Tree feature of a different era myself.

When I was in college in the late ‘60s and early ‘70s, at the University of Iowa’s Writers Workshop, my great instructor Richard Yates sent my novel Bait Money to agent Knox Burger, who had a storied career as a Collier’s magazine editor and (more pertinently) the editor at Gold Medal Books, where among other things he encouraged John D. MacDonald to stop writing one-offs and create a series character (Travis McGee, anyone?). Burger took me on as a client, but a bit grudgingly, writing to Yates, “I’m afraid young Collins is a blacksmith in an automotive age.”

I’m afraid I still am.

And yet somehow I’ve managed to find a way to write about characters in novels, comics, and even films, who resonate with the child of the 1950s in me – the kid who scrounged used book stores for copies of the forbidden EC comics, who watched George Reeves as Superman loving every (sometimes silly) second of it, and who somehow – unbelievably – got to write Dick Tracy after Chester Gould’s retirement, and Mike Hammer after Mickey Spillane’s passing.

That would seem more than enough. But I’m a greedy cuss (get to my age you start using words like “cuss”) and am currently luxuriating in seeing – well, hearing – my own Nate Heller brought to life from my scripts in the immersive audio drama, True Noir, thanks to director Robert Meyer Burnett and star Michael Rosenbaum.

The moral of all this? Even if you are talented and hardworking, and I immodestly think I am those things, you are nothing without collaborators who are also talented and hardworking. Like Terry Beatty. Like Gary Kato. Like Rob Burnett.

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Here’s an article on the best 7 performances in comic book movies – it’s Paul Newman in Road to Perdition.

M.A.C.