Posts Tagged ‘Caleb York’

Everything Old Is “New” Again

Tuesday, September 27th, 2022
Eliot Ness and the Mad Butcher
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Audio Sample:

The Dark City
The Dark City, 1987 Bantam Paperback

Eliot Ness: An Untouchable Life Blu-Ray
Eliot Ness: An Untouchable Life
2007 Blu-Ray, VCI

A new book is out about Eliot Ness and the Mad Butcher. I’m not going to share the name or much information about that book with you, because the book you should be buying and reading is the 600-page Eliot Ness and the Mad Butcher by A. Brad Schwartz and me, available now in a handsome and inexpensive ($15.49) trade paperback.

This other Ness/Butcher book (350 pages) is about as redundant and unnecessary a volume as I can imagine. But history is fair game, true crime included, and it’s not like this hasn’t happened to me before.

My theories developed about various unsolved or controversially solved crimes in my Nathan Heller novels have paved the way for non-fiction writers who didn’t have to (and didn’t) credit me, since I had merely written a novel. That those novels are crammed with research, often aided by George Hagenauer and done on site and in libraries and raiding old bookstores at much time and expense, didn’t matter a whit.

My novel Butcher’s Dozen, published in 1988, was the first book-length look at Ness and the Mad Butcher case, and George and I did much on site research about the case, and at Case Western Reserve Library found the massive Ness scrapbooks that hadn’t been seen since 1961 when Oscar Fraley wrote Four Against the Mob about Ness in Cleveland, the only book about Ness in Cleveland prior to my The Dark City in 1987. Since then have come any number of books about the case, including a graphic novel by a guy who used to write fannishly to the letter column of Ms. Tree (where Butcher’s Dozen was announced, advertised and discussed); there have also been scads of movies announced but never made.

Fair game, all of it. Dirty pool, at times, but within the rules.

And I am not here to cry plagiarism against the author of this new Ness/Butcher book. Maybe to cry “foul” a little. Here’s why. As part of the promotion of the book, the Smithsonian announced the author’s appearance for an event called “Eliot Ness: An Untouchable Life,” featuring an actor playing Ness (as well as the author).

Some of you may know that I wrote a play that I adapted into a 2005 film for Iowa PBS of that very name – a one-man show with the late Michael Cornelison as Ness. I wrote the Smithsonian and complained. The author wrote me an e-mail saying the title hadn’t been his idea, and that he really admired my work very much. But he assured me that his September 2022 book had not been influenced by the Collins/Schwartz August 2020 book because, after all, he had concluded his research in 2019.

Uh, right.

The author claimed to have great respect for me, but the only book about Ness of mine that is (minorly) referenced in his new book is the Collins/Schwartz Scarface and the Untouchable (2018). There is a vague reference by this self-professed longtime Ness buff in the new book’s prologue (without mention of my name) to my Ness/Batman graphic novel, Scar of the Bat. No mention of Ness being a character in True Detective and subsequent Nate Heller novels. No mention of the four Eliot Ness in Cleveland novels, which have often been prominently mentioned in lectures and in print by Cleveland’s predominant Ness expert, Rebecca McFarland. And of course no mention of either An Untouchable Life or Eliot Ness and the Mad Butcher.

It’s a tad hard to imagine that an Eliot Ness buff would never have heard of me or my pioneering research efforts (initially with George Hagenauer and later with Brad Schwartz, the latter the major Ness expert on the planet).

And it’s been frustrating to see friends and friendly acquaintances of mine extolling the virtues of this competitive book with no mention (or possibly awareness) of our book. The MWA Edgar committees did not acknowledge either of our massive, and frankly ground-breaking books, but the author of this new Ness/Butcher book seems a shoo-in, as he’s won before. That howl of anguish you will hear, should this author be nominated or win, will (I assure) you have emanated from Iowa (and Princeton).

When we queried the publisher (also the publisher of four Nate Heller novels, the most recent, Do No Harm, featuring Ness prominently…in Cleveland!) with questions about research material from our book that seemed to have made its way into this new one, we were assured that the author simply used the same sources we had. We were unable to confirm that, but we have been assured that future editions of this rival book will have some mention of ours, perhaps in a “recommended further reading” manner.

We appreciate that.

We don’t intend to take this any further. But if you are thinking about reading – or recommending – a book on this subject, please consider doing what the author of this new Ness/Butcher book doesn’t do: mention Eliot Ness and the Mad Butcher by Max Allan Collins and A. Brad Schwartz.

[UPDATE to this week’s UPDATE written 9/25/’22:] In the Smithsonian event last night (9/26/’22), the author of the Ness/Butcher book did, if belatedly, acknowledge the two Collins/Shwartz Ness non-fiction books, giving them a full screen to themselves. He also listed me as one of “many” who have written Ness novels. That I was the first was not mentioned, nor was my role in rediscovering the Ness scrapbooks. Nor was the one-man show/feature presentation, Eliot Ness: An Untouchable Life. But it’s a start.

* * *

On a happier note, I’d like to share a wonderful (starred!) review from Publisher’s Weekly of the forthcoming new Nate Heller novel, The Big Bundle due out Dec. 6.

The Big Bundle: A Nathan Heller Novel

Max Allan Collins. Hard Case Crime, $22.99 (304p) ISBN 978-1-78909-852-5

In MWA Grand Master Collins’s superb 18th Nathan Heller novel, (after 2020’s Do No Harm), the PI crosses paths with Robert Kennedy and Jimmy Hoffa. It’s 1953 in Kansas City, Mo., when millionaire Robert Greenlease retains Heller’s services after his six-year-old son, Bobby, is kidnapped and ransomed for $600,000. Greenlease makes the payment, but the kidnappers delay returning the child. Heller uses his underworld contacts to try to get a lead on Bobby’s whereabouts by attempting to trace the marked bills used for the payoff, though he fears that the boy is already dead. Flash forward to 1958. Heller is working both for Hoffa, the corrupt Teamsters leader, and Kennedy, then chief counsel for the Senate Rackets Committee, who’s looking to nail Hoffa. With half of the ransom never accounted for, Kennedy hopes Heller can help him prove it ended up in the Teamsters Pension Fund. Heller’s search for the money and the truth behind Bobby’s abduction proves perilous. Collins again artfully uses a real-life crime, one now obscure but headline-making in the 1950s, as the springboard for a crackerjack plot. This is another standout in a consistently good series.

And I have to share this nifty Big Bundle review from the great Ron Fortier, whose “Pulp Fiction Reviews” column is always a fun, informative read.

THE BIG BUNDLE
by Max Allan Collins
Hard Case Crimes
Arriving Dec 6th 2022
295 pgs

This is the 20th in the Nate Heller historical crime series by Collins. If you are unfamiliar with them, the conceit is simple enough. Collins, either working alone, or with other collaborators, researches an actual American crime and then drops his fictional private eye into the tale as either an investigator or actual participant in the events. In this case, he becomes both. The story revolves around the 1953 kidnapping of young Bobby Greenlease of Kansas City. The six year old was the son of Robert Cosgrove Greenlease Sr, a multi-millionaire auto dealer. His kidnappers were paid a ransom of $60,000, the largest ever paid out in American history at that time.

Collins splits the book in two parts. The first has Heller hired by Greenlease Sr. to help find the kidnappers and rescue his son. We’ve always admired Collin’s ability to empathize with his characters and that is never more evidenced than here. Believing the boy is already dead, after finding Hall, Heller’s emotional restraint is nothing short of painful as his desire to blow away the scumbag killer is kept in check with having to learn the truth. His portrayal of Carl Hall is both deft and creepy at the same time.

At the time of the couples’ eventual arrest, only half the money was recovered. Five years later the mystery remains as to where it went and who ended up with it. Reporters and police investigators suggested the funds had been laundered through organized crime and ended up in Jimmy Hoffa’s Teamsters Union Fund. Thus Greenlease Sr. once again hires Heller; this time to find out where it went. Not because he needs the money, but is sickened by the thought that unknown lowlifes profited from his son’s abduction. Like his previous Heller books, Collins skillfully weaves his protagonist through the documented historical facts having him cross paths with such players Hoffa and Bobby Kennedy.

“The Big Bundle” is classic Max Collins, that alone should have you pre-ordering it. Of all his Heller novels to date, this one will leave you feeling as if you’d been sucker punched. Since the Garden of Eden, evil has existed in our world. In 1953, it reared its head tragically.

A final note. We rarely mention of the covers of books we review. Hard Case Crime is one of the few publishers out there that always delivers stunning paintings reminiscent of the early 50s paperbacks. Paul Mann does the honors on this title offering up a Nate Heller who looks a whole lot like the late actor Robert Lansing. What we’d call brilliant casting, Mr. Mann.

And the love fest continues with this great Library Journal review of the about-to-be-published (Oct. 4) new Barbara Allan novel, Antiques Liquidation.

Antiques Liquidation Cover
Antiques Liquidation
by Barbara Allan
Severn House.
(A Trash ’n’ Treasures Mystery, Bk. 16).
Oct. 2022. 208p. ISBN 9780727850911. $29.99.

Brandy once again finds herself an unwilling partner to her septuagenarian mother’s antiques subterfuge in Allan’s 16th “Trash ’N’ Treasures” mystery (following Antiques Carry On). Awoken early in the morning by Vivian for a shady antiques shopping trip, Brandy is prepared for something to go wrong. With a little blackmail, Vivian has secured access to the auction goods before the auction happens. She has her choice of deadstock, and after an encounter with the police, is able to take it safely home. However, murder is never far behind where Brandy and Vivian are involved, and the auctioneer soon turns up dead. Vivian adds her own interpretation of events throughout the book, often to humorous effect. Readers will also find several recipes and Vivian’s tips for buying and selling antiques. Brandy’s asides about events in the previous novels will help new readers to enjoy this installment without having read the rest of the series. Fans who are returning to the series will continue to find humor in Brandy and Vivian’s relationship and will enjoy seeing favorite characters return.
VERDICT: Best for readers of cozy mysteries who enjoy small-town living, humor with a side of murder, and cute canine companions.
Reviewed by Tristan Draper, Aug 26, 2022

Our old pard Caleb York is getting a boost from Kensington, who will run price discount promotions on the York novels during October at major eBook retailers. For example, Shoot-out at Sugar Creek will be promoted with a BookBub blast on 10/8/2022 – a rootin’ tootin’ 99-cents!

* * *

The aftermath of the presentation here in Muscatine, Iowa, on September 17 of Gary Sandy in my play, Encore for Murder (developed from a Mickey Spillane synopsis), has been gratifying. The people who saw it have approached me with praise, and others with regret that they didn’t see it.

We have just started to scratch the surface of the voluminous footage we gathered on HD of the performance. Excerpts (and interview footage of Gary Sandy and the Velda and Pat Chambers actors) will be included in the new version of my 1999 Spillane documentary, in progress. And I am hopeful we will have a complete feature version of the recorded play as well. I haven’t spent much time in editing suites in recent years and can’t wait to get back in there with Phil Dingeldein and our new buddy Chad Bishop.

* * *

Finally, Craig Zablo gives The Big Bundle a big boost here!

M.A.C.

Caleb York Nominated

Tuesday, June 28th, 2022
Shoot-out at Sugar Creek cover
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I’m pleased to say that my Caleb York novel – Shoot-out at Sugar Creek – has been nominated for a Scribe award.

Original Novel — General
Patient Zero, Amanda Bridgeman (Aconyte)
Shoot-out at Sugar Creek, Mickey Spillane & Max Allan Collins (Kensington)
Debonair in Death, Terrie Farley Moran (Berkley)

Winners will be announced at San Diego Comic-Con July 22, 2022. A full list of nominees in all categories is at the IAMTW.

This is a bittersweet but much appreciated honor. For whatever reason, neither the Spur nor Peacemaker Awards from the Western Writers of America and the Western Fictioneers respectively have ever honored the Caleb York novels. (I should say we did get a Best Novel nomination for The Legend of Caleb York from the Fictioneers, but nothing since.)

I would imagine I’m viewed as an interloper, a mystery/crime novelist moving in on their territory. It’s been a fun ride nonetheless. Kensington has not asked for more Caleb York novels, and I am making no approaches to other publishers, though the York sales have been strong enough to make that possible. It’s just that my goal for Caleb York was to fashion a novel from Mickey’s unproduced screenplay, The Saga of Cali York, written for John Wayne. I only did more novels because Kensington requested them, and, hey, who am I to turn down work?

But at this stage of the game, I’m starting to question that question. I am embarking on what may be the final Nate Heller novel, the potentially massive Too Many Bullets, and will likely be spending most of the rest of this year on it. My health is fine, considering the underlying factors, but I am particular about what projects I take on at this point.

It’s hard for me to walk away from a series. I really loved writing Caleb York, as I’ve been a fan of movie and TV westerns since early childhood – admittedly less so of western fiction. But those six novels satisfied a creative itch and I’m pleased to go out on a Scribe nomination. The paperback of it is coming in October.

The Scribes honor writers of movie novelizations and TV tie-ins, as well as authors continuing characters begun by famous writers like Robert B. Parker, Edgar Rice Burroughs and, yup, Mickey Spillane. This is the first time I’ve submitted a Caleb York novel to the Scribes, as members are limited to one submission in a category, and previously I submitted Mike Hammer novels to the General Fiction category (winning several times, I’m pleased to say).

Those keeping score may recall that Lee Goldberg and I founded the International Association of Media and Tie-in Writers (IAMTW) a decade and a half ago. Lee, having more class than me, never submitted his work to the awards given by an organization he co-founded. I, of course, having no shame, have been a frequent nominee and occasional winner.

The reason why I have no shame is that the real shame goes to the writing organizations (you know who you are) that have ignored tie-in writing throughout their existence, as if the talented writers creating novels and short stories in their respective fields (science fiction, mystery fiction, horror, western) didn’t exist at all.

I know from the mail I’ve received over the years (snail and e-) that most readers don’t make that distinction. The role that Star Trek and Star Wars novels played in keeping those franchises alive during periods when Hollywood’s versions lay fallow cannot be overestimated. My publishers frequently mention that I am the author of Saving Private Ryan and Air Force One (among others) without bothering to mention they are novelizations. Until the recent Reeder & Rogers political trilogy came along, my CSI novels (written, like that trilogy, with my gifted co-writer Matthew Clemens) were my bestselling mystery/crime novels…and introduced hundreds of thousands of readers to my work.

So I am proud to be co-founder of the IAMTW, and will bear up under the shame of participating in their awards.

* * *
Sam Elliot in 1883

Speaking of westerns, among the streaming series Barb and I have been watching is 1883, which is supposedly a prequel to the very popular Yellowstone. We tried the latter and somewhere in the second season got irritated with it, so we avoided the prequel for a while. We shouldn’t have.

My love for Sam Elliot as perhaps our last great western icon in the Hollywood sense finally prompted us to watch, and it’s a fine show – tough, heart-felt, and more historically accurate than most. (Really it should be set at least ten years earlier, but apparently that would screw up its prequel-to-Yellowstone timeline.) Everyone on this series is good, but Elliot seems to sense this is a career-capper and his rock-hard surface hiding tender humanity – he is sort of the ultimate “tough love” advocate – sums up everything we admire about his work.

1883 is on Paramount-Plus, and I’m finding it the best of the handful of streaming services of which I partake. Star Trek: Strange New Worlds continues to honor the memory and approach of Roddenberry while updating it. Barb and I glance at each other every episode and at some point one of us says, “Can you believe it’s 2022 and we’re watching new Star Trek?”

And real Star Trek at that.

The Offer wrapped up very well. Having read a bit about the actual filming of The Godfather, I am aware a certain amount of sugarcoating, not to mention artistic license, is afoot here. But I was shocked by the swells of emotion I felt in the knowledge that the characters have achieved their goals and were about to go on with their lives without me. For me, Miles Teller is the standout in a cast that I would have to say is flawless (well, the Sinatra guy could have been better).

Also viewed streaming (it’s available a couple of places) is a three-and-a-half-hour Bollywood movie my son badgered me to watch – RRR. It is an absolutely bonkers action spectacle that makes Raiders of the Lost Arc look like a documentary about archeology. They fight, they sing, they dance, they romance, they make sure we know the Brits were stinkers. It’s absurd and childish and sophisticated and three hours and a half just blow by. I cannot do RRR justice, other than to say – don’t leave the planet before you’ve experienced it. (My favorite scene had to do with the massive cages of wild beasts being unleashed on a British nighttime garden party.)

You’re welcome.

* * *

One of the things about writing a weekly blog, with a specific deadline, is that everything else can get in the way.

Today I have to prep for the commentary I’m doing tomorrow morning (at Phil Dingeldein’s studio in Rock Island) for the ClassicFlix 4K Blu-ray (and 3-D) release of the 1953 I, the Jury, something I had only dreamed might one day happen. But the prep will not be easy, as there is much to discuss.

Last week I was in a foul mood and did not feel well, and dragged myself through this bloggy process. And if it showed, well, you’re not paying anything for this. Don’t bitch.

However. I performed the kind of screw-up I am well-known among my friends and associates (not mutually exclusive groups) for performing: I posted the four gigs of my band Crusin’ this summer and managed to leave out one of those dates, while thoughtfully including the times and places. You can’t have everything.

Crusin' at Ardon Creek, 2022

Before I present the revised schedule, I’ll mention that Crusin’ appeared last Friday night (June 24) at Ardon Creek Winery. It’s a lovely outdoor venue, and we were pretty good. The crowd was even better, numbering in the hundreds. A taco truck fed their tummies, and we fed their souls. It was fun, and I felt good throughout, relieved that my age had not dulled my rock ‘n’ roll skills appreciably since last year.

We had not appeared at Ardon Creek, one of our favorite venues, since pre-Covid, so it felt like a reunion. Barb was there – she helps me set up and tear down – and my son Nate, his wife Abby and their two kids Sam and Lucy came and capered on the surrounding green landscape that makes this particular venue so special.

Crusin' at Ardon Creek, 2022

I know these updates go out to readers, fans and friends all over the country, all over the world really, and what follows is strictly for Eastern Iowa and thereabouts. But here’s the rest of Crusin’s season:

Saturday July 2 we’re at Proof Social in Muscatine, from 5 to 8 p.m. On the patio, inside in case of rain.

Sunday August 14 it’s the Second Sunday Concert Series at Musser Public Library, 408 E. 2nd Street in Muscatine, IA. Sometimes it’s indoors, weather allowing outside in the parking lot. 6 to 8 p.m.

Sunday Aug 21 2022 – the Muscatine Art Center’s yearly Ice Cream Social, 1 till 4 p.m. 1314 Mulberry Ave, Muscatine.

* * *

Here’s a nice John Sand review.

This piece looks at Road to Perdition on Netflix.

You have to scroll down a ways, but this is an in depth look at several of the Nolan novels, including the recent Skim Deep. [Note: the link is a PDF-format Internet magazine. The homepage is here.—Nate] The writer is very self-confident, smart and talky, but careless (my middle name is “Allen” in the first piece, and Richard Stark, it seems, writes about “Porter”). But it’s a deeper dive (a current term I despise) than Nolan is usually given.

Here’s a Spillane WW 2-era comic book story I didn’t know about!

M.A.C.

Sand Number Three and Wild Dog Goes Number Two

Tuesday, July 13th, 2021
To Live and Spy in Berlin cover
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The third in the John Sand Trilogy – To Live and Spy In Berlin – comes out tomorrow, Wednesday July 14.

Both my co-author Matthew Clemens and I consider this the best of the three, although we are proud of each one individually and more so collectively.

As Matt and I have often expressed, the John Sand novels reflect our love of Ian Fleming’s Bond novels and the movies they spawned, particularly the first six (five of which starred Sean Connery). There’s been some confusion from people thinking we’re doing spoofs when homage is more like it. Possibly pastiche, although I think we go beyond that.

The books imagine John Sand as the “real-life” spy the world’s most famous fictional spy was based upon. Sand has a new wife, Stacey, and is working for a new international espionage organization. We put him – them – in an historical context, so a few famous faces turn up in each novel. And in the first three, John F. Kennedy has chosen Sand as his go-to spy.

We pulled this off in a short period of time, and while we hope to do more Sand novels, we admit to being bushed. We plot them together, share the research, stay in constant communication while Matt writes a rough draft, after which I write my draft, still staying in touch with my co-author. It is as genuine a collaboration as you are likely to find, rivaled only by Barb and me on the Antiques series.

I refer to this as the John Sand Trilogy because whether it goes beyond that number of entries is wholly in your hands – yours and whatever readers otherwise stumble onto what we think is a very entertaining series.

No book giveaway yet, but stayed tuned.

* * *

My panel on Ms. Tree, Mike Hammer and Nolan for the virtual San Diego Comic Con is at 12 PM to 1 PM on Friday, July 23. Info here.

* * *

Some of you may be aware of the fuss regarding Wild Dog that was splashed all over the Internet last week (and still going). This is how CBR.com related it, relying on Bleeding Cool:

Wild Dog co-creator Terry Beatty slammed DC Comics for its upcoming Suicide Squad: Get Joker series, which depicts Wild Dog as being one of the insurrectionist who took part in the January 6th Capitol Insurrection.

Bleeding Cool posted a number of panels from the upcoming Brian Azzarello and Alex Maleev project, which shows the Suicide Squad paired with Red Hood to hunt down the Joker to finally make him pay for his crimes, and Wild Dog is available to be part of the Suicide Squad because he was in prison after being arrested during the Capitol Insurrection.

In the leaked panels, Wild Dog even brags about defecating on the desk of the Speaker of the House. He also says stuff like, “Garbage that’s been happenin’ in this country…it’s all fucking lawless…all the while we’re being regulated to think.”

Beatty, who co-created Wild Dog with writer Max Allan Collins, shared his displeasure with this new take on his creation on his Facebook page, “This is not the Wild Dog Max Allan Collins and I created. We are both angered and appalled at this offensive and out of character reworking of our hero. Yes, he was a vigilante. Yes, he was a gun nut.* But he wasn’t a conspiracy theory idiot or leader of a mob. This blatant disregard and disrespect for the creators’ intent is a slap in the face to both of us.”

Beatty referenced the CW version of Wild Dog, portrayed by Hispanic actor, Rick Gonzalez, as being a reason the artist thinks that this is a particularly bad idea, “It seems additionally insulting, considering the positive portrayal of Wild Dog as a POC on the CW ARROW TV series. To now make him the leader of a mob of racist, violent, moronic goons pretty much destroys any possibility of future use of him as an actual hero — vigilante or not.”

Wild Dog was introduced by Beatty and Collins in a miniseries for DC in 1987, as an urban vigilante who takes on the mob after his girlfriend is murdered. He later appeared in a series of stories by Collins and Beatty in Action Comics Weekly.

Beatty ended his missive by noting, “As the co-creator of Wild Dog, I need to say loud and clear, that what DC and Azzarello are currently presenting is not my Wild Dog, and neither Max nor I approve.”

Since then Terry has had more to say on his Facebook page (some of which has been quoted elsewhere). I was asked for my take on the matter by Bleeding Cool’s Rich Johnston.

Here’s what I wrote (with a title that was not used):

DOG POOP
Max Allan Collins

My first reaction at discovering Wild Dog had been recruited into the Suicide Squad as the leader of the Jan. 6 Insurrection as a defecating Proud Boy-style seditionist was bewildered shock. Basically, “Huh?”

That quickly grew to rage, expressed mostly as, “Fuck DC,” and “Fuck the writer.” I shared these sentiments with Wild Dog’s artist/co-creator, Terry Beatty, and he basically tried to calm me down. But, obviously, it gradually worked him into a rabid lather, too.

For me, it’s settled into disappointment and disgust. Wild Dog was conceived as a home-grown costumed hero. No cape, no cowl, just what could be put together out of such items as a hockey mask (with its Jason resonance) and body armor and real-world stuff from a hardware store and a home workshop. The usual “what if” all fiction writers operate from – “what if” somebody decided to actually be a costumed hero?

The results were not always beneficial. When Wild Dog found himself confronted by a would-be Bucky to his Captain America, despite our hero’s best efforts to discourage the Pup’s participation, the child is nearly killed. Terry and I pursued this with Ms. Tree – she was a vigilante, too, but wound up both in jail and in a mental institution. I might add in the Ms. Tree feature, Terry and I explored such then-current (and still current, unfortunately) topics as date rape, abortion clinic bombings, and gay bashing.

Some defenders of what we see as a perverted use of our creation dismiss it on the grounds that Wild Dog is a minor, forgotten character. Well, tell that to DC, who have used the character in at least three other comics, most recently as a cast member of the Cave Carson comic book, and to the CW network, where Wild Dog was a recurring character on Arrow.

Wild Dog debuted in a four-issue mini-series, had a regular slot in Action Weekly, and a “Special” double-length one-shot. In addition Terry is an Eisner-winning Batman artist, and we were Eisner nominees for our Ms. Tree work at DC. I wrote a year of Batman as well as two Batman graphic novels and was the initial writer of the Tim Burton-era Batman newspaper strip. My graphic novel (with Richard Piers Rayner), Road to Perdition, generated an Academy Award-winning film that is often cited as one of the best comic book movies ever made, and the graphic novel itself appears on many “Best of” lists. As recently as 2011 Terry and I did Return to Perdition for DC.

So what?

So Terry and I both have long relationships with DC and might have expected better where one of our creations is concerned. Yes, DC owns the rights to the character, but simple courtesy and common decency might suggest going down this path with Wild Dog was ill-advised – and that at least the creators should be warned. After all, invoking the Jan. 6 riot was bound to attract attention and controversy – shock value was the point, after all.

Of course we weren’t informed, just as we were not told about Wild Dog being used on the Arrow TV show. We weren’t paid for that (one of the few things our contract gave us) until that fact went public. I have worked with many terrific people at DC, but DC itself remains what it’s always been – a corporation built on the bones of two Cleveland teenagers.

As for Brian Azzarello, who I have never met, I have to wonder what kind of writer uses the creation of another writer in such a reckless, disrespectful manner. Azzarello is one of a generation of comics writers who owe a certain debt to our Ms. Tree, the first successful crime comic book in decades when it appeared in 1981. Still the longest running private eye comic book of all time (50 issues plus specials), it paved the way for everything that followed. We might have expected better thanks than this.

DC owning Wild Dog doesn’t stop it being characterized as my work – the fame of Road to Perdition guarantees I will be mentioned in the context of a character who is tied to a political movement I abhor.

But a modicum of consideration from the publisher, and some respect from the writer, is too much to expect from the company and talent who ignore Bill Finger’s Batman in favor of Batman fingering Catwoman.

Wild Dog
* * *

The Bleeding Cool story on Wild Dog, with more Terry Beatty responses and a lot of comments (where I weigh in here and there) can be seen here. Most of the comments are supportive; some are asinine.

Here is a wonderful Mike Hammer write-up with a focus on Complex 90.

Here’s a favorable if slightly patronizing Bookgasm review of the new Antiques Carry On.

Finally, Atomic Junkshop serves up a swell look at the Caleb York series with a great art and wonderful words.

M.A.C.

Wow! Another Book Giveaway! You Gotta Be Kidding Me!

Tuesday, June 15th, 2021
Double Down cover
Trade Paperback:
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I hear from a lot of readers that they have trouble keeping up with my output. Well, sometimes I have trouble, too – Double Down, the second of the Nolan reprint series from Hard Case Crime (two novels to a book), came out June 8! So, better late than never, ten copies are available in exchange for the promise of a review at Amazon and/or other outlets, including blogs. As usual, if you hate the book you are absolved of your obligation.

Write me at macphilms@hotmail.com. USA only. You must include your full snail-mail address (including name with address to make it easy on me copying it) even if you’ve won books before in these giveaways.

Let’s discuss my rate of output. For one thing, Double Down is two books I wrote decades ago, so you can’t hold that against me. And I don’t mean to sound morbid here, but you may have noticed I’m not as young as I used to be, which means I have an increasingly finite amount of time ahead of me to get my stories told. Yes, this is about making a living, but right now it’s more about getting the work done. And when I’m dead, my output will significantly decrease, and you will have plenty of time to catch up.

To Live and Spy in Berlin by Matt Clemens and me – the third John Sand novel – will be out July 14, but you can order it now. We think the cover is splendid. Will there be more John Sand books? That’s up to you. We have left something of an incredible effing cliffhanger that needs resolving, so it’s on your conscience not ours if sales don’t justify that resolution.

It’s frustrating to hear how many people assume these novels are spoofs (without reading them, of course), though it may be our fault for the tongue-in-cheek titles (Come Spy With Me; Live Fast, Spy Hard). And I provided the tagline, “A Marriage License to Kill.” But we are in the very hardboiled tradition of the original Bond novels and the first four Sean Connery films. Matt and I feel the third John Sand is the best of the bunch.

I have just completed – sent the manuscript to Wolfpack editor Paul Bishop minutes before beginning this update – a novel called The Menace by Mickey Spillane and me. It’s a horror novel based on an unproduced Spillane screenplay. I am hopeful it will do well enough to justify a novel version of another unproduced screenplay of Mickey’s, The Green Woman. If that happens, it will mean all three unproduced screenplays in the Spillane files will have become novels (the first was The Saga of Cali York, which became The Legend of Caleb York).

To Live and Spy in Berlin cover
E-Book: Amazon

In the pleasant wake of being named a recipient of the Faust, the Grand Master award from the International Association of Media and Tie-in Writers, I had an interesting revelation about writing novelizations of film scripts. I think I already knew this instinctively, but with The Menace I realized that my approach to turning the script into a novel was very much the same as a director turning a script into a film.

The Menace will likely not be out from Wolfpack till 2022, since I wrote it as part of the celebration of the 75th anniversary of Mike Hammer’s first appearance in I, the Jury (1947). So I’ll be talking about it more, later.

The nice response the Nolan reprints have been getting brings to mind how Nolan – and frankly my professional life as a writer – began. Specifically, it was with the film Point Blank, based on Richard’s Stark’s novel The Hunter and directed by John Boorman. Stark, of course, was Donald E. Westlake, but it would be a while before I knew that.

This was 1967 and it seemed like one film after another was hitting me hard, and changing many ideas I had about storytelling. Looking back, I’d have to say ‘67 was the best year the movies ever had, or it sure seemed that way when every weekend one or more of the following might happen: The Graduate, Bonnie and Clyde, You Only Live Twice, The Producers, Bedazzled, How to Succeed in Business Without Really Trying, and The President’s Analyst. Not to mention (well, hell, let’s mention them) The Dirty Dozen, Tati’s Playtime, In the Heat of the Night, Coolhand Luke, Billion Dollar Brain, Hour of the Gun and Elvis in Clambake. Well, maybe not Elvis in Clambake….

Point Blank, as a modern, hard-edged, nearly surrealistic crime film, hit me harder than any (with the possible exception of Bonnie and Clyde). Barb and I saw it at a drive-in. I was still living at my parents’ house and remember vividly going out after dropping Barb off her at her parent’s place and buying Point Blank at an all-night supermarket. I remembered having seen the book there, reprinted by Gold Medal (title-changing The Hunter to Point Blank) as part of a reprint program of the Richard Stark “Parker” novels with covers by Robert McGinnis.

I’d already been reading and loving the Ennis Willie “Sand” novels, which had a similar premise, and within days I had started writing Mourn the Living, the first Nolan novel (although his name initially was Cord).

What I got from the film Point Blank was the modern gloss that could be put on the tough guy novels born of the ‘30s, ‘40s and ‘50s that had so consumed me as a young reader. What I got from Richard Stark’s Point Blank (and the other Parker novels) was a third-person approach that taught me strict point of view and interesting ways to shift time.

Without that film (and the book the film led me to) I would not be the writer I am today. I was so entrenched in Spillane technique – which was tied to the 1950s – that it was vital that John Boorman and Richard Stark drag me into the present.

Which, of course, was 1967.

And what ultimately separated me from Richard Stark was my young age and the world I was living in – soon I would be married and going to the University of Iowa on the Iowa City campus, in a world of hippies and rock ‘n’ roll that entered a bemused Nolan’s world immediately, and made me not just a throwback but somebody writing about his new world in an old established way.

I am always fascinated and impressed and even a little overwhelmed by things like this. Like what? Like buying a paperback of Point Blank with a Robert McGinnis cover, and a couple years later creating Quarry, the child Richard Stark and Mickey Spillane bore that came from my loins (ouch!), a character who would appear in two centuries in books of mine with Robert McGinnis covers.

I am a lucky bastard.

Not rich, not quite famous, but damn lucky.

* * *

Speaking of Double Down and Nolan, here is a review/essay from Book Reporter that is so good I might written it myself…or maybe held a gun to the reviewer’s head as encouragement.

The terrific Borg site writes up the best books of the decade, and names Mike Hammer as Best Retro Novel Series (New/Ongoing). The brief write-up is glowing and wonderful.

Finally, here’s another short but fun reaction to Double Down and Nolan.

M.A.C.