Posts Tagged ‘Eliot Ness’

Celebrating the Release of the Mad Butcher

Tuesday, August 4th, 2020
Eliot Ness and the Mad Butcher
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Today is the publication date of the non-fiction tome Eliot Ness and the Mad Butcher by A. Brad Schwartz and myself. I am celebrating this by giving away ten copies.

As usual, write me directly at macphilms@hotmail.com. United States only, and you must include your snail mail address, even if you’ve won books in these giveaways before. The book is in exchange for a review at Amazon with reviews encouraged at Barnes & Noble and your own blogs or review sites as well.

The four Eliot Ness novels covering his Cleveland years – a quartet that eventually led to both the play/film Eliot Ness: An Untouchable Life and the two non-fiction works, Scarface and the Untouchable and the new Eliot Ness and the Mad Butcher – are available at Amazon from Wolfpack as An Eliot Ness Mystery Omnibus for $2.99. Even with my meager math skills, I can tell that’s a penny under three bucks for four novels.

While we hope to offer new print versions of the novels (perhaps in two-novels-to-a-volume form), right now they are Kindle e-books only. So no giveaways are in the cards for now. But if you have already read the novels – any of them – and liked them, reviews of the Eliot Ness Omnibus would be much appreciated. Right now we have a paltry two reviews at Amazon and that doesn’t go very far at getting the Omnibus noticed. Even if you haven’t bought the books in this new form, don’t hesitate about reviewing them under the Omnibus listing.

Since I’ll be talking about Eliot Ness this week, I’ll remind you that Eliot Ness: An Untouchable Life is available on Blu-ray now at Amazon.

It’s also available on DVD for $9.99.

Reviews for Untouchable Life at Amazon are also appreciated. We only have two at the moment, and no one has specifically talked about the Blu-ray.

Also, the entire five-book Mallory series will be available for 99-cents each as Mystery, Thriller & Suspense Kindle book deals from now through the end of August. Included in the sale will be the thriller Regeneration by Barb and me (as “Barbara Allan”), also at 99-cents.

The Mallory titles are: No Cure for Death; The Baby Blue Rip-off; Kill Your Darlings; A Shroud for Aquarius; and Nice Weekend for a Murder.

* * *

Is it undignified to celebrate the career of a law enforcement icon who could not be bribed by offering a giveaway, and hawking various titles pertaining to him? I don’t really care, since I never claimed to be untouchable myself.

But Eliot Ness and the Mad Butcher (it has a subtitle but I decline to use it, because I dislike it intensely) marks the final stage of an interest in the real-life lawman that reaches back into my childhood. My interest in such things begins even before the first Untouchables of two installments on Desilu Playhouse aired on April 20, 1959. The Dick Tracy comic strip (by way of comic book reprints) had ignited that interest; but, in fairness, since Ness was the real-life basis of Chester Gould’s Tracy, the Untouchable was already in the mix.

There’s no question that Tracy and Ness got me interested in stories about detectives, but more significantly The Untouchables TV series (and the autobiographical book that spawned it) got me interested in the factual material that generated so much of the guns-and-gangster pulp fiction I adored. My novel True Detective (1983), after all, deals with the same crime – the assassination of Mayor Cermak – as a two-part Untouchables episode I saw as a kid. Granted, that two-parter only nodded at history, but that nod was enough to get my attention.

Ness became the Pat Chambers to Nathan Heller’s Mike Hammer in a number of the Heller novels. At the request of an editor at Bantam, I spun Ness off into the four novels that dealt with his Cleveland years (previously explored, somewhat inaccurately, in Oscar Fraley’s Untouchables follow-up, Four Against the Mob, but otherwise little written about).

Two things are, I think, significant about those novels, including that they represent the first time actual cases of this real-life American detective had been the basis of stories about him (excluding the initial two-part telefilm). More importantly, the writing of the books led to research by myself and George Hagenauer that uncovered new (or at least forgotten) information about Ness.

In addition to his occasional role in the Nathan Heller saga, Ness appeared in my graphic novel Road to Perdition (drawn by the great Richard Piers Rayner) and in my prose sequel, Road to Purgatory (available from Brash Books). The latter, to some degree, dealt with Ness’s little-known role in fighting venereal disease on military bases and elsewhere during World War II.

For unknown reasons, Ness was not depicted in the film version of Road to Perdition, but that nonetheless led to the play (and 2007 video production of) Eliot Ness: An Untouchable Life. Initially, actor Michael Cornelison and I were planning to do a one-man show about Perdition antagonist John Looney. We intended to mount it in Rock Island (where Looney had been the local crime boss in the early Twentieth Century) and shoot the film in one of the two existing houses were Looney had lived.

Somewhere along the line, one of us – it may have been Mike – suggested that Ness would have greater appeal to a wider national audience. Also, over the years I had heard from editors and readers that I should do a non-fiction treatment of Ness, since I had done so much research into and about him. Much of what George and I uncovered about Ness was making its way into the accounts of non-fiction writers (fiction writers, too) without credit.

As an independent filmmaker, looking for productions that could be produced cheaply but well, I found a one-man show appealing. I also had the possibility of a grant from Humanities Iowa, for whom I’d made an appearance at a University of Iowa event with editorial cartoonist, Paul Conrad. We mounted the play at the Des Moines Playhouse, where we shot the film between performances. My eventual co-author Brad Schwartz saw the play and that sparked our collaboration.

I had intended An Untouchable Life to be my final statement on Ness. While it is written from Ness’s point of view, skewed to his own memories and perceptions of his life, and some dramatic liberties were taken (by both Ness and me!), the play represents the most accurate depiction of Ness on screen to date.

Eventually, however, Brad convinced me to join him in writing the definitive biography of Ness. We embarked on doing that only to discover another, apparently major Ness biography was about to come out. I had once considered doing a massive, Godfather-style novel on both Capone and Ness, cutting back and forth between their stories. Now I suggested we follow that approach, but in a strictly non-fiction fashion. That would set us apart from any Ness bio or Capone bio, for that matter.

Obviously that approach – particularly since we intended to do cradle-to-grave accounts of both men – turned out to be too big for one book. Now we have a two-volume work that I feel confident is the definite treatment of the life of Eliot Ness. The research George and I did for the novels has been greatly enhanced by further research, much of it by my co-author, who crisscrossed the country in his efforts, even talking to surviving friends and associates of the long-deceased lawman.

It must be said that I have written about several different Eliot Nesses. The Ness of the Heller books serves a specific function – he is Heller’s conscience, the Jiminy Cricket to his Pinocchio. The portrayal darkens in Angel in Black and Do No Harm. The Eliot Ness Omnibus of Cleveland novels is a basically accurate but somewhat romanticized version of Ness – far closer to reality than Robert Stack, but splitting the difference between them. The same is true of Ness in Road to Perdition and Road to Purgatory. Eliot Ness: An Untouchable Life is only slightly romanticized, and (in my view at least) portrays him as he saw himself.

The real Ness can be found in Eliot Ness and the Mad Butcher (and Scarface and the Untouchable). My co-author and I did not always agree on what – or who – the research added up to. We wrestled our way into a joint presentation that is probably more accurate than if either of us had been turned loose alone.

I can look at these two works and feel that, at last, I have done right by this complex real-life Dick Tracy. With the publication of Eliot Ness and the Mad Butcher, with the recent publication of Do No Harm (which ends Ness’s story in the world of Nate Heller), and with the four Ness-in-Cleveland novels gathered into Omnibus form, I feel I’ve come full circle.

* * *

Here’s a great Wall Street Journal review. Here is the link, but it requires a subscription to read.

‘Eliot Ness and the Mad Butcher’: An Untouchable Second Act

After helping to put Al Capone behind bars, lawman Eliot Ness came to Cleveland, where he did battle with a vicious killer.

Moviegoers of a certain age will remember Eliot Ness—the upright law-enforcement figure who battled corruption and organized crime from the 1920s to the ’40s—as portrayed by a tough-talking Kevin Costner in Brian De Palma’s 1987 movie “The Untouchables.” Television viewers from an even earlier era will recall Ness depicted by the stern-faced Robert Stack in the ABC series (1959-63) of the same name. But the real-life Ness, as revealed in Max Allan Collins and A. Brad Schwartz’s “Eliot Ness and the Mad Butcher,” was less the hard-boiled hero of popular culture than a humane and forward-thinking lawman as interested in preventing crime as in punishing it.

The Chicago-born Ness (1903-57) came to prominence as a Prohibition agent in the Windy City, doing battle with Al Capone and other bootleggers as head of his own hand-picked squad of agents. His men were dubbed the “Untouchables” for their refusal to accept payoffs or gratuities. As a friend observed of the incorruptible lawman: “Honesty amounted to almost a fetish.”

The government put Capone behind bars in 1932 via the prosecution of a tax-evasion case, but the work of Ness and his men was central to establishing the extent of the mobster’s criminal activities. With Capone out of the picture, the Untouchables were disbanded, and Prohibition ended soon after. Ness, a nationally known figure (his physical and professional image inspired Chester Gould’s comic-strip police hero Dick Tracy), looked beyond Chicago for new opportunity. He found it in Cleveland, the site of his next significant successes—but also of the disturbing case that gives Messrs. Collins and Schwartz’s book its title.

Ness was named Cleveland’s director of public safety in 1935 and was put in charge of the city’s police and fire departments. He found the cops to be sloppy, uncooperative and demoralized. Once more he formed his own discrete unit of Untouchables to weed out incompetent and corrupt officers and hire smart new ones. “Intelligence,” he counseled, “must supplant brutality.”

But even Ness was stumped trying to apprehend the “torso murderer” responsible for a series of ghoulish killings, in which parts of dismembered and beheaded corpses were strewn about the woods and dumpsites of Kingsbury Run, one of the city’s poorest areas. “The mystery of the headless dead” drew national and international attention. In Germany, the Nazi press mocked America’s inability to apprehend the “Mad Butcher of Kingsbury Run.” With no witnesses and sometimes no way even to identify victims—and with advanced forensics techniques far in the future—police were stymied.

By 1938, the authors write, “the Butcher had become the subject of the largest manhunt in Cleveland’s history.” Thousands of citizens wrote and called the cops with worthless tips. “The investigators, after years of fruitless searching, grew desperate, pursuing ever more eccentric lines of inquiry.” At last a few tantalizing leads brought an alcoholic and mentally disturbed doctor named Francis Sweeney to the attention of the detectives.

Ness and his crew subjected the 44-year-old Sweeney—who had shown signs of psychosis and had been verbally and physically cruel—to judicially inadmissible polygraph examinations that convinced all present of his guilt. Still, despite an abundance of circumstantial indicators, Ness had no hard evidence. Complicating matters was the man’s being a cousin of a local congressman, a vocal Ness critic. Prosecution was not an option. Ness handled the matter privately, helping to arrange Sweeney’s commitment to a mental hospital. Sweeney, who was institutionalized for much of the rest of his life, sent a series of bizarre and taunting postcards to Ness through the mid-1950s.

Though Ness was sure that the killer had been caught and dealt with, he couldn’t officially close the case and so swore himself and his men to secrecy. The public was left with the impression that the culprit might still be at large. The case of the Mad Butcher, with its unsatisfying non-finale, fits a bit awkwardly into Messrs. Collins and Schwartz’s wider narrative. In the latter stages of their book, the authors ably follow Ness through an unsuccessful foray into city politics and a disappointing business career. But given this work’s title and its subtitle—“Hunting America’s Deadliest Unidentified Serial Killer at the Dawn of Modern Criminology”—one sometimes gets the feeling of two different books uneasily hitched.

That said, the authors have done Ness justice. It’s discouraging to learn that a man who refused a fortune in bribes died $9,000 in debt. Shortly before his fatal heart attack at the age of 54, he finished work on the memoir that would revive and romanticize his reputation and bring his third wife and their adopted son a modicum of income.

Messrs. Collins and Schwartz, in this, their second deeply researched book about Ness, don’t gloss over their subject’s failings and blind spots, but they do show that he tried harder than many to leave the world a better place. His “signature achievements in Cleveland—fighting juvenile delinquency, reorganizing the police department, promoting traffic safety—stemmed from a deep well of humanity and compassion,” they write. Now more than ever, the authors conclude, Ness’s name “should remind us of the rigorous standards he brought to law enforcement—professionalism, competence, honor, and decency—and a determination to make everyone safer by addressing the systemic root causes of crime.”

Review by Tom Nolan.

* * *

My favorite Jeopardy! question popped up again on a rerun this week:

MAC on Jeopardy!

Here’s a great interview with my buddy Charles Ardai, editor of Hard Case Crime. He mentions me several times, bless him.

Check out this wonderful review of The First Quarry.

M.A.C.

A Typical Day in the Neighborhood

Tuesday, July 28th, 2020

In previous updates, I’ve mentioned that I am currently working with two publishers who are primarily e-book-oriented. One is Wolfpack, where I’ve just sent in my first original novel (co-written with my longtime collaborator Matt Clemens). I am not ready to reveal the title or the genre as yet, but I will say we’ve committed to at least three entries in this new series, and that I’m very pleased and excited with/by this first entry.

Wolfpack ad for Eliot Ness Omnibus

Wolfpack continues to be incredibly supportive. Take a gander at this ad that ran in Publisher’s Weekly for their first publication of my work – The Eliot Ness Mystery Omnibus, which collects the four Ness-in-Cleveland novels. For those of you with Kindles, you can get this omnibus – all four novels – for $2.99 (free for Prime Unlimited members).

Those of who you have already read these and own them in some other form are encouraged to write reviews of the omnibus, which as of now has only a single, lonely review. And Do No Harm, Girl Can’t Help It, Masquerade for Murder, Antiques Fire Sale and Hot Lead, Cold Justice have all kind of stalled out on the review front, so if you haven’t got around to posting yours, doing so would be appreciated.

The other e-book project I’m working on is for a new company that got a splashy welcome fromThe Hollywood Reporter (among others).

I am not ready to reveal what the Neotext project is, other than to say it’s a new detective series with a female lead and that I’m doing three novellas (30,000 words each) about the character. Okay, here’s a few more tidbits – it’s set during World War II, and it will be illustrated by a terrific Hard Case Crime artist, providing not just a cover but one painting per each chapter (ten per novella).

Initially these novellas will be published as e-books, one at a time, with an eye on later collecting them in physical book form. But so far Neotext itself is strictly an e-book publisher.

I am starting work this week on the second novella for Neotext. And Matt and I are meeting, via Zoom, to plot the second novel for Wolfpack. Both publishers have me creating new series, although Wolfpack is also publishing back list (including short story collections) and are up for me continuing existing series…in fact, have signed me to continue both Krista Larson and Reeder & Rogers.

This brings me to the non-promotional (at least not overtly so) portion of this update.

A question I am frequently asked is what my work schedule is – “What’s your typical day?”

In a way, I don’t have a typical day. Each morning does begin about the same, with the usual rising groggily, throwing down a handful of pills, scarfing down a mini-donut or two, guzzling some sparkling juice, and spending half an hour or so in my recliner watching Morning Joe (I’m a liberal – get over it).

Barb, in her neighboring recliner, always says, “Tell me about your day in the greatest of detail.” And I share my best-laid plans before the day proceeds to do whatever the hell it feels like.

When I am bunkered in writing a novel, which is most of the time, I attempt to write in the morning with lunch arriving no earlier than 11 a.m. and no later than noon. We used to go out for it, but now we rustle up our own (yes, I help in the kitchen, though my efforts are somewhat pathetic). When lunch happens depends on how my writing is going and, of course, how Barb’s writing is going. Barb has to get her writing done in the morning, as she is providing Day Care for our two grandkids a few houses up the street from one p.m. till shortly after five. I write all afternoon.

But fulltime freelance writing is a small business and both of us have to deal with business stuff as well as feed our muses – Barb in particular handles the financial side of things. But I have editors and agents and collaborators to deal with, and when galley proofs arrive I generally have to set my work schedule aside and deal with that aspect of things.

Between novels I do my best to attend to smaller projects, like short stories and the intros to the IDW Dick Tracy collections. I also always clean my office, which deteriorates to disaster-level proportions as a novel progresses – scattered research volumes, wadded-up paper on the floor, discarded drafts of pages and even chapters, and so on.

Also intruding on the actual writing are the requests for interviews, which I mostly try to handle via e-mail, but which sometimes require the phone or Skype or Zoom. These updates are written either Sunday evening, late, or first thing Monday. The longer ones sometime drain my energy to the point that no other significant writing gets done that day.

My pattern has changed radically over the years. As some of you may recall, for much of my professional life I was a night person who did most of his writing starting around midnight, going to bed at eight or nine a.m. and sleeping till noon. I had enormous energy as a younger person, needing little sleep; most nights I wrote a finished chapter, including long ones like those in a Nate Heller novel. But when we did the Mommy movies, and I had to rise at six a.m. or so – the director has to be first on the set and last to leave – my inner clock got changed. Ever since, I’ve rarely risen any later than eight a.m. or so. Now, as an old man (goddamnit!), I sometimes wake as early as six a.m.

And I hate it.

On such mornings, I start writing early, even before Barb gets up. So there are factors that come in, as you may have already noticed, that mean there is no really typical day.

On the other hand, sheltering in place for the corona virus has made one day seem much like another. Oddly, for Barb and me, time is passing more quickly, which seems like the opposite of what you’d expect.

* * *

The Quarry series was selected by Crime Reads as one of ten most binge-worthy series of the 1970s, which is a nice honor. In the comments, I corrected the assumption that the Memphis setting of the TV series is the same as the books.

Here is the opening sentence of a patronizing review of the Johnny Dynamite collection: “The opening introduction by writer Max Allan Collins is more a biographical essay about writer Frank Morrison Spillane (alias Micky Spillane) and writer/artist Pete Morisi. Not to mention it is excessively long. (Then again the title of this collection is also excessively long.) Though Collins’s introduction should please those wanting more knowledge about the subjects’ lives and/or the early comic book industry. While the introduction by artist Terry Beatty is of reasonable length it has one or two sentences that are a little clunky.”

I have a few thoughts to share. First, what other kind of introduction is there but an “opening” one? Second, if you’re going to be dismissive about Mickey Spillane’s role in this collection, at least spell his name right (not “Micky”). If you’re going to accuse my co-editor of writing a “clunky” sentence, perhaps you should learn to write in complete sentences yourself. Do you wonder why reviews like this irritate me?

On the other hand, here is Ed Catto’s terrific (and well-written) review of that same book, interspersed with quotes from an interview I gave Ed.

Here’s a brief, positive review of Eliot Ness and the Mad Butcher – the non-fiction follow-up to Scarface and the Untouchable by A. Brad Schwartz and myself that will be published…next week!

Finally, the “lost gem” that is my single Batman comic strip continuity (with the late great Marshal Rogers) is discussed here.

M.A.C.

M.A.C. Makes a “Wolf” Pact, and It’s Dynamite!

Tuesday, July 7th, 2020
An Eliot Ness Mystery Omnibus
E-Book: Amazon Purchase Link

I am happy to announce that I have signed with Wolfpack Publishing to bring out some old titles – and, soon, brand-new ones. First up is the Eliot Ness Mystery Omnibus, which includes all four Eliot Ness in Cleveland novels, and is priced at $2.99.

This is an e-book, available only on Kindle (i.e., at Amazon). There’s a good possibility the novels will be available individually as “real” books, but the omnibus is strictly an e-book collection.

Having the four Ness novels, covering his time as Cleveland’s young, hardhitting Safety Director, is particularly satisfying, with the non-fiction account, Eliot Ness and the Mad Butcher coming in August from Morrow – the follow-up by A. Brad Schwartz and myself to Scarface and the Untouchable.

Together those two non-fiction titles essentially comprise a full-length biography of Eliot Ness. That massive project began with the research for the four novels collected in the Eliot Ness Mystery Omnibus, which were the first time the Cleveland years had been looked at in depth, and the first time crime/mystery novels about actual cases of America’s most famous real-life detective had ever been written. Butcher’s Dozen was the first book-length treatment of the Mad Butcher of Kingsbury Run serial killer case, and has been much imitated and plundered by novelists, graphic novelists and even non-fiction accounts.

The research George Hagenauer and I did for those four novels was – I say with no modesty at all – groundbreaking, and formed the basis of the eventual in depth research for the non-fiction Butcher book, with Brad Schwartz building mightily on that initial research. (My play and video feature, Eliot Ness: An Untouchable Life, also pathed the way for these two non-fiction opuses.)

Wolfpack Publishing is one of the fastest-growing and most successful new publishers, as detailed in a glowing Publisher’s Weekly piece that you should check out.

My longtime friend Paul Bishop, a terrific writer (and terrific guy), has encouraged my bringing my work to Wolfpack, where he is acquisitions editor, with the visionary Mike Bray the publisher. Wolfpack is a “hybrid” house, which means – unlike traditional publishers – they place primary importance on e-books and secondary importance on real books, which are Print-on-Demand.

It should be said that Amazon’s Thomas & Mercer, where the Heller and other titles of my backlist have been very successful (as have been half a dozen original novels, including the current Girl Can’t Help It) are similarly a hybrid publisher. So I’ve had a positive experience with this publishing paradigm before.

The Corona Virus pandemic has seen a real jump in sales of e-books while at the same time traditional publishers are at least somewhat frozen in place. Several of my current publishers are either not buying anything or are curtailing the amount of what they contract to publish. For me, already prolific, I found myself facing sheltering in place with a dwindling number of projects to keep me busy.

As it happens, two opportunities came along in the e-book world, one of them Wolfpack, that I quickly embraced. (The other one I will discuss at a later time, but it’s also exciting.)

In addition to the four Ness novels, I have licensed the two Mommy novels to Wolfpack, and Shoot the Moon (the novel in the now out-of-print collection, Early Crimes) as well. Even more exciting, at least to me, are half a dozen short story collections we will be doing for Wolfpack. These include Barb’s Too Many Tomcats, our joint collection Murder – His and Hers, and my Blue Christmas collection of holiday-themed mystery and crime stories.

Also, three new collections are included in the Wolfpack pack: Suspense – His and Hers from Barbara and Max Allan Collins; Murderlized, an enormous gathering of almost every short story Matt Clemens and I have done together; and Reincarnal, bringing together virtually all of my horror short stories (and two radio scripts from Dreadtime Stories).

I will also be doing some original novels for Wolfpack (I hinted at this in recent Updates). Matt Clemens and I have a new series, the first entry in which I have just completed. Matt and I may also be doing a fourth Reeder and Rogers political thriller, and I intend to do a third Krista Larson mystery.

For now I will withhold the nature of the new series, and will only say I’m excited about it – that it quenches a thirst for a specific kind of thriller that I have always wanted to write but never got around to. You will not have to wait long to read it. Wolfpack turns books around much more quickly than traditional publishers – you will see the first novel in the new series before the end of the year…perhaps well before the end of the year.

If this relationship works, I will be in a position to do projects in a vein not possible with any traditional publisher. Those publishers only want new series or standalones from an author like me. Nothing from a “busted” series. (An exception is Hard Case Crime, where innovative editor Charles Ardai encouraged me to start Quarry up again, and my hitman has of course had a more healthy life the second time around than the first.)

But at Wolfpack, I can do a Jack and Maggie Starr or a Mallory or a “disaster” or a Perdition prequel or a Black Hats sequel or even – should the current publishers stop doing them – new Spillane titles. Wolfpack is interested in whatever I might want to do. This feels incredibly liberating.

Of course, we have to see how I do for them, and how they do for me. And you have to be willing to settle for trade paperbacks in series (like Nate Heller, should he wind up there) where a collector would prefer a hardcover.

All of the books I mention above, the new novel, the old novels, and the short story collections (new and old) will be available as trade paperbacks – the kind of thing Luddites like us like to see lined up on a book shelf.

I am not unaware of the irony that the virus that has required Barb and me to be hermits has led to this e-book surge, giving me an opportunity to try something new in the world of publishing. When I signed much of my backlist over to Amazon some years ago, I was warned not to do so…and yet it proved to be a move that has kept me and my world of fiction alive and flourishing.

And let me applaud another hybrid publisher, Brash Books, who have brought out the three Perdition prose novels, and the revised, properly bylined Black Hats and USS Powderkeg (aka Red Sky at Morning). The Brash boys made a major dream of mine come true by working hard to get the rights to publish my complete, full-length prose version of Road to Perdition.

Bridling against conventional wisdom has always worked out well for me. Let’s see if I’m right again.

* * *
Johnny Dynamite: Explosive Pre-Code Crime Comics—The Complete Adventures of Pete Morisi’s Wild Man of Chicagos
Hardcover: Indiebound Purchase Link Bookshop Purchase Link Amazon Purchase Link Books-A-Million Purchase Link Barnes & Noble Purchase Link
E-Book: Amazon Purchase Link Google Play Purchase Link Nook Purchase Link

Diehard fans of my comics work may recall that when artist Terry Beatty and I created Wild Dog for editor Mike Gold at DC in 1987, we continued with the monthly Ms. Tree, meaning we had to limit the number of pages for that latter title, to be able to meet double deadlines. Out of the blue we had the opportunity to buy the rights to the 1950s Johnny Dynamite character and all the existing stories that had been done about him. We were approached because both Terry and I had been vocal about our love for the feature, and in particular for its Mike Hammer pastiche nature and the great Pete Morisi’s artwork.

So we began reprinting, in black-and-white, the Morisi stories in the back of the Ms. Tree comic book, so that Terry and I would have fewer pages of that character to produce concurrently with Wild Dog.

Now, thanks to the redoubtable Craig Yoe, we’ve had the opportunity to collect the complete Morisi Johnny Dynamite stories in a beautiful full-color volume. Both Terry and I have provided introductions. Mine is very long and detailed, explaining to modern comics readers just how important Mickey Spillane and Mike Hammer were (as well as Mickey’s background in comics), as Johnny Dynamite is a direct imitation – and among the best of countless imitators in novels, television, movies and comics.

I can’t say enough about how physically beautiful this book is. Yoe and his team have outdone themselves. It’s a hardcover worthy of any book shelf of either hardboiled fiction and/or comic book reprints.

It’s getting great write-ups, though one reviewer complained about my intro being “excessively long.” I plead guilty, but will say that I only wrote the word length requested of me by Craig Yoe himself. And I doubt anyone who follows my work will have a similar complaint.

You can read about the new Johnny Dynamite collection here,

and here,

and here,

as well as here.

M.A.C.

Mommy Streams, Backlist Bubbles, We Binge

Tuesday, May 12th, 2020

Both Mommy and Mommy’s Day are now streaming on Amazon Prime. (Links: Mommy; Mommy’s Day) How long they will be there I can’t say (Eliot Ness: An Untouchable Life has disappeared, though some other streaming services have it). If you’re a Prime member, it’s included.

[Note from Nate: Eliot Ness: An Untouchable Life is currently on Tubi, free (with ads?)]

So if you haven’t seen both or either of these films, now’s your chance. If you have the earlier full-screen versions, this is an opportunity to see the widescreen versions that Phil Dingeldein and I recently labored to create. I do warn everyone not to expect HD quality (despite being streamed as HD) – the picture (particularly on Mommy) is rather soft. But it’s probably the best either one is going to look.

As I’ve said, compromises were made to be able to afford the wonderful casts.

remain proud of these films, and the Blu-ray double-feature release has received mostly good to great notices. People seem to understand where these little movies were coming from – which is to say blackly humorous melodrama, and a tribute to The Bad Seed and to Patty McCormack herself.

Mommy and Mommy’s Day are streaming on Fandango, too, for a couple of bucks. It may show up elsewhere (I am not kept terribly well in the loop by the distributor). (Links: Mommy; Mommy’s Day)

The novel versions will be coming out again one of these days, part of a package I am negotiating with a major e-book publisher for the seven remaining novels on my backlist (Amazon has most of the rest, Dover has the first two Jack and Maggie Starr novels).

We are also discussing a group of collections of my short fiction (and Barb’s), reprinting Blue Christmas, Too Many Tomcats, and Murder – His and Hers, plus a follow-up to that last title, a collection of my horror stories, and two collections of the stories Matt Clemens and I have done together.

Pulling these stories together has been a big job. They go back to the nineties in many cases, and were written using the word-processing program (wait for it) WordStar, and then converted to now nearly obsolete versions of WordPerfect maybe twenty years ago, and finally to Word. So while I have most of the files in some form, the dizzying array of conversion glitches causes twitches.

For the horror collection I decided to include the radio scripts of “Mercy” and “House of Blood,” written for the Fangoria radio show, Dreadtime Stories. I had adapted a number of my short stories for producer Carl Amari, but had two indie movie ideas I wanted to get up on their feet, and that’s how the two scripts above came to be written. The scripts were in a format (basically a very narrow strip of copy, maybe four inches wide, that required hours of work transforming them into more standard pages of text that wouldn’t bewilder or annoy readers. Fortunately, I have a staff to do such scut work. No, wait – I don’t!

Ultimately, though, it will mean the vast majority of my work will be available in e-book (and real books), with only a handful of things lost to the mists of time.

* * *

What have Barb and I been watching lately? Now that we don’t go to the movies anymore?

We finally got around to Ozark, which had been recommended to me by smart people, who were right. It’s a terrific show, very well-acted and full of twists and turns. Several people had told me that somebody (or somebodies) at the series seemed to be fans of mine or were influenced by me, and I think that might be the case. If so, it’s flattering. If not, it’s not the first time I’ve been deluded.

But there’s a hillbilly family reminiscent of the Comforts from the Nolan novels, a character called Boyd (Quarry’s partner in those novels), and a major villain in the first of the three seasons so far is played by the actor (Peter Mullen) who was the Broker in the Quarry TV series. And the good man doing bad things to keep his family afloat is Road to Perdition 101. Maybe half a dozen times I turned to Barb and said, “At least somebody’s reading me.”

The series itself is obviously something that wouldn’t exist without Breaking Bad, and it challenges you (in a Quarry-like way) to root for and identify with people who are making really poor choices. I don’t mean to overstate any debt anybody owes me, because (a) I owe plenty of debts myself, and (b) I may be full of shit about this.

The Guardian describes Ozark thusly: “Ozark follows the misadventures of Marty Byrde (the perpetually clenched Jason Bateman), a financial adviser forced to relocate from Chicago to Osage Beach, Missouri, where he launders money on a scale that would give Al Capone a cluster migraine.”

Bateman uses his standard glib, slightly put-upon persona to nice comic effect initially, and you are slightly amazed at first by how well that persona works in a dark melodrama. But as that melodrama grows darker, and the consequences ever more dire, Bateman’s performance deepens. Other mesmerizing performances come from Laura Linney, as Bateman’s even more glib wife, whose sunny smile delivers manipulative self-interest in such a “helpful” way; and Julia Garner’s Ruth, the most original and unique character in Ozark, a hillbilly girl with a good heart and a crushed soul, capable of kindness and murder, when either is called for.

I like the series and I think you will, too.

We also have recently enjoyed the surprise gift of a second season of Rick Gervais’ After Life, the touching drama/comedy (you don’t think I could ever type the vile word “dramedy,” do you?) that explores the road back for a husband consumed by grief over the loss of a wonderful wife.

The very special thing about After Life is its signature combination of mean humor and genuine sentiment. It’s a show about a man so depressed that suicide is an understandable option, and it’s often frequently hilarious.

I am a Gervais fan and have been for a long, long time. This little series isn’t much talked about, but it may represent his best work.

On the film front, we have watched a lot of British comedies of the late ‘40s and 1950s – such Alastair Sim gems as our perennial favorite, The Belles of St. Trinian’s, but also Laughter in Paradise and School for Scoundrels; and Alec Guinness in All at Sea, The Captain’s Paradise and Last Holiday.

And the most current season of Midsomer Murders, a favorite comfort food of ours, seemed particularly strong after a few missteps the season before.

* * *

Bookgasm, which is a book review site you should be regularly visiting, has posted a wonderful review of Girl Can’t Help It that’s been picked up all over the place, and I provided a link last week. But in case you haven’t seen it, I’m going to share it here, right now:

Notoriously prolific author Max Allan Collins has added a second entry to his Krista Larson series, GIRL CAN’T HELP IT. It’s also a stretch back to Collins’ past (and present) as a rock and roll musician. True! I didn’t know this either but Collins apparently wrote the song “Psychedelic Siren” recorded by The Daybreakers in 1968 (here, watch it on YouTube). In the author’s note, he states this is the first time he has mined his rock and roll experience for a book. Well dang it, more of this please. Mr. Collins.

The first book in the series, Girl Most Likely, features Krista Larson as the Chief of Police in Galena, Illinois. She is assisted by her able staff but also by her father, a retired cop from the Dubuque Police Department who does invaluable detective work. In this second work, Girl Can’t Help It, the Larson duo is back on the job.

The book title refers to a song title recorded by local Galena band Hot Rod & The Pistons. They scored a huge hit with the song in the 80s when retro rockabilly hit big (think Stray Cats). They managed two albums and then faded away. But after their election into the Iowa Rock and Roll Hall of Fame, they’re set for a reunion gig and maybe even a little tour. The town of Galena is excited and creates a special musical festival to kick off the whole thing. All well and good.

Until one of the members is found dead of a heart attack in a bathtub. Oh well, old guys do die. But then a second band member commits suicide and his apartment has been ransacked. This hits the Larsons as fishy, and they’re fairly convinced that both deaths are murders.

Of course, we the readers know these are murders because we have chapters written from the point of view of the murderer. The crimes continue to escalate and it’s a battle between the murderer and the police department to see who will come out on top and if the entire lineup of Hot Rod & The Pistons will be killed off one by one.

Everybody knows Max Allan Collins by now. He has multiple series in place, writes another successful series with his wife (the duo goes by Barbara Allan) and is one of the solid bricks in the pyramid of genre writers over the past 40+ years. A lovely, smooth and polished style coupled with a brisk pace makes for quick reading short chapters, believable characters, behaviors and dialogue. If you like any of Collins’ works, you’ll like GIRL CAN’T HELP IT. I think this series has real promise. Recommended. —Mark Rose

Get it at Amazon.

A fun podcast about books, The Inside Flap, was kind enough to give Do No Harm and Nate Heller some attention. The Do No Harm stuff happens a bit after the hour mark. You’ll hear one of the participants wish that I would have Heller solve the JFK assassination (guess what books I sent along to them).

The great blog Paperback Warrior is posting their all-time ten favorite posts, and the one focusing on The First Quarry is #4.

Here’s a great interview with my buddy Charles Ardai, touching on our projects together.

The fantastic Stiletto Gumshoe site talks about Mike Hammer and Masquerade for Murder, and provides some links to things you may have missed.

This nice review of Antiques Fire Sale is a little quirky – doesn’t like all the talking to the reader, and thinks referring to Vivian as “Mother” is disrespectful – but some nice insights are on hand, as well. Loving us is preferred, but liking us is just fine, too.

Finally, check out this terrific Mystery Tribute piece about Mike Hammer and Masquerade for Murder.

M.A.C.