Nathan Heller « Friends/Family/Fans of Max Allan Collins

Caleb York Nominated

Tuesday, June 28th, 2022

Hardcover:

Paperback:

E-Book:

Digital Audiobook

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.

* * *

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.

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.

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.

Tags: Awards, Caleb York, Crusin', John Sand, Mickey Spillane, Movie Reviews, Nate Heller, Nathan Heller, Nolan, Reviews, Road to Perdition, RRR, Shoot-out at Sugar Creek, Skim Deep, Star Trek, The Legend of Caleb York, Too Many Bullets
Posted in Message from M.A.C. | 6 Comments »

Sand Sale, Perdition, Hammer Theme, Spillane, Crusin’

Tuesday, June 21st, 2022

There is another John Sand bargain this week – I believe it goes to the 15th of next month (July) – for the audio of To Live and Spy in Berlin. For only 99 cents! Brian J. Gill reads this (and the other two Sand novels) in a nice English accent that suits the material; really a great job.

* * *

Several friends and fans wrote me about a Daily Atlantic newsletter essay that selected Road to Perdition as an ideal Father’s Day movie. I liked the piece, even though it neglected to mention me, and was touched that the photo running with the article was from the sequence directly based on my first driving lesson with my late father. No bank robberies were involved in real life, however. I also like John Rooney being based on John Looney got a mention.

Here it is:

‘He Was My Father’

Sometimes at the Daily we step back at the end of the week’s blizzard of news and current events and suggest something for your leisure time. It’s Father’s Day weekend, and so I want to recommend to you one of my favorite movies, a meditation on generations and fatherhood and loyalty and duty, a warm, nostalgic look at families during a simpler time, starring two of America’s most beloved actors.

I am talking, of course, about Road to Perdition.

If you have not seen it, Road to Perdition (based on the graphic novel of the same name, and widely available to stream) is a 2002 film about Irish gangsters in the 1930s. But it’s really about fathers and sons. A mob leg-breaker named Mike Sullivan, played by a bulked-up Tom Hanks, is fiercely loyal to his boss, John Rooney (played, in his last role, against type and with regal Hibernian menace by Paul Newman); indeed, Sullivan and Rooney have a father-son relationship.

But Rooney already has a son, played by Daniel Craig, and that son is a murderous psychopath. (People wonder why I had a hard time accepting Craig as James Bond. It’s because I saw Road to Perdition first.) Without giving away too much, Sullivan and his own young son, Michael, have to go on the lam. It’s a father-son road-trip movie, except with tommy guns and stone killers.

You may find this an unusual recommendation. Bear with me.

When Father’s Day rolls around, I naturally think of my own father. I have never been able to relate to all those Hallmark-card, Ward Cleaver images. My dad was a complicated man, which is what sons say when we mean “He was terribly flawed in a lot of ways, but he loved me.” He bore a lot of sins and had a lot of shortcomings, but he had a consistent code of ethics in dealing with others and he was known for it. He kept his word, paid his debts, and treated others with respect. He was the kind of man who would walk into a local bar and his peers would call him Nick but younger men would unfailingly refer to him as “Mr. Nichols.” Even our younger neighbors called him “Mr. Nichols,” with great affection. (When he died, I sold his house to one of the children who’d grown up next door to him.)

I think most of us had fathers who weren’t perfect. Mine wasn’t, and yet he taught me important things: Do an honest day’s work. Love your country. Do things you have to do even if they’re unpleasant. Never back down if you know you’re right. Be courteous in public.

He also taught me how to gamble and showed me how to spot someone dealing off the bottom of a deck of cards.

He wasn’t the blueprint for a good husband or father, and he knew it. When I was in my 30s, he admitted to my mother that he thought I’d grown up to be a better man than he was. This is a hard thing to learn about your father, a source of both pride and sadness. (I will have more to say about fathers, and the men I knew growing up, over on my Peacefield newsletter this weekend.)

Which brings me back to Road to Perdition. When Sullivan has to go on the run with Michael (played by a young Tyler Hoechlin), the son finally learns what the father he idolizes actually does for a living. He also learns that Rooney—based on the real-life Irish godfather John Patrick Looney—is not a kindly grandfather but a cold-blooded killer. These men (and this is very much a man’s movie) are scoundrels, but they have a code, and their obedience to that code leads them to tragic choices.

The last line of the movie (again, without spoiling anything) is what ties it all to my memories of my own boyhood. Young Michael reminisces, and says: “When people ask me if Michael Sullivan was a good man, or if there was just no good in him at all, I always give the same answer. I just tell them: He was my father.”

That is the most honest thing most of us can say about our fathers. We love them, and they love us, and that’s enough.

* * *

My Brit pal Andrew Sumner, who edits my Mike Hammer novels at Titan (including the upcoming Kill Me If You Can), sent this great video.

He explains: “Due to my regular attendance at London’s finest jazz clubs, I’ve become friendly with a well-known UK swing/jazz R&B performer called Ray Gelato. Ray leads a band called Ray Gelato and the Giants and they essentially channel the energy of Louis Prima & Louis Jordan – they played Paul McCartney’s wedding, they’ve supported Queen, etc. They’re in a similar wheelhouse to Brian Setzer and Big Bad Voodoo Daddy.”

Andrew was nice enough to request that they play “Harlem Nocturne,” Mike Hammer’s theme in the Keach era, and dedicate it to me. Have a listen and look (or is that a butcher’s hook?).

* * *

If you’re a huge Spillane fan or huge Collins fan or just huge masochist, you may wish to watch this entire ninety-minute interview of me (on the subject of Mickey) by Dan Scheider (he’s very’s good) featuring the great Kevin Burton Smith of Thrilling Detective fame and accomplishment.

* * *

On another musical note (or two or three or four), my band Crusin’, 2018 inductees in the Iowa Rock ‘n’ Roll Hall of Fame, will be playing four dates in Eastern Iowa this summer and early fall.

First up, on Friday June 24 from 6 to 9 p.m., is the Ardon Creek Vineyard in the gently rolling farmland of “76 Township” in Eastern Iowa, approximately 30 minutes southeast of Iowa City, Iowa, 15 minutes southwest of Muscatine, Iowa and 5 miles north of Letts. Here’s the address: 2391 Independence Avenue, Letts, IA 52754. Their phone is (563) 272-0028 and more info’s available here, including a map.

On Saturday July 2 we’ll be at Proof Social in Muscatine, from 5 to 8 pm. We’ll be on the patio unless there’s rain, in which case we’ll be inside. This is a lovely venue, and the patio overlooks the Mississippi.

On Sunday August 14 we’ll again be appearing as part of the Second Sunday Concert Series at Musser Public Library, 408 E. 2nd Street in Muscatine, IA. Sometimes it’s held indoors and other times, weather allowing, with an outdoor stage in the parking lot. Hours are 6 to 8 p.m.

Finally, we’ll be appearing at the Muscatine Art Center’s yearly Ice Cream Social, which runs from 1 till 4 p.m. (Our times are 1:15 to 2:10 and 3 to 3:45.) 1314 Mulberry Ave, Muscatine.

Yes, our “season” is short, which is on purpose. Again I wonder if this will be the last year for Crusin’ appearances. And my memory fills with my departed bandmates, including the most recent and cutting loss, bass player Brian Van Winkle. I hope he’s somewhere arguing with Paul Thomas, Chuck Bunn, Bruce Peters, and Terry Beckey who among them gets to play bass if that Rock ‘n’ Roll Heaven gig comes through. But knowing Brian, he’d just smile and wait his turn.

Crusin’ at the Moose in January 2022

* * *

Check out this wonderful Quarry’s Blood review at the web’s definitive genre book review site, Bookgasm.

Here’s a nice Goodreads review of the graphic novel, Road to Perdition.

And finally here is The Big Bundle at the Hard Case Crime web site.

M.A.C.

Tags: Interviews, John Sand, Kill Me If You Can, Nate Heller, Nathan Heller, Quarry, Quarry's Blood, Reviews, Road to Perdition, Sales, The Big Bundle, To Live and Spy in Berlin
Posted in Message from M.A.C. | 3 Comments »

Processing Spillane and Heller

Tuesday, November 23rd, 2021

I should probably dispense with asking you to buy and then Amazon-review both Fancy Anders Goes to War and The Many Lives of Jimmy Leighton (co-written by the great Dave Thomas). I won’t even remind you what wonderful Christmas gifts they would make.

I just have too much class for that.

Instead, I’ll talk about process this week. Who doesn’t love process? A few weeks ago I touched on the challenges and difficulties of Spillane: King of Pulp Fiction, co-written with James L. Traylor. We are waiting with anticipation for the editorial notes to come back, which will require tweaking but I hope nothing major, as I am very proud of my draft, and Jim likes it, too.

What surprised me was reading all the material about Mickey I’d gathered going back to my junior high days – I literally used the scrapbook I kept, because it had various articles and reviews pasted in among my carbons of indignant letters to anti-Spillane reviewers and my cartoony portraits of Mickey. What I hadn’t anticipated was the picture all of that material would paint when, for the first time, I read it all at once…not just in dribs and drabs as articles and such first appeared.

I feel like I put together pieces of the Spillane puzzle that had eluded me, despite my close personal relationship with the man for the last 25 years of his life. Many assumptions I’d made – and had cockily presented as fact in various pieces and introductions about Mickey and his work over the recent years – proved short-sighted…not wrong exactly, but lacking nuance.

For example, I no longer think his conversion to the Jehovah’s Witnesses had anything much to do with the near decade-long respite he took from novel writing. I do think his style shifted, and the violence and sex were both more restrained; but not absent. Re-reading The Deep recently, I saw how he used the threat of impending violence to create a story about a tough hero who really only kills once, and then in self-defense. In The Girl Hunters, Hammer kills nary a soul, though he does trick the “evil one” (as Traylor puts it) into self-destruction.

This probably had as much to do with his attempt to develop as a writer and to respond through his work to the incredibly unfair and even vicious attacks upon him throughout the 1950s. Other than perhaps Elvis Presley, no figure in popular culture had ever seen so much success and, simultaneously, so much condemnation. But the bio will, for the first time, reveal the major reason he stopped writing novels at his popular peak.

Writing about Eliot Ness with Brad Schwartz was a similar experience for me. So often Ness had been presented as a glory hound when the research showed he was primarily responding to pressure from above to get positive press. Additionally, things routinely dismissed by the Ness naysayers – including events reported in his autobiographical The Untouchables (mostly ghosted by sportswriter Oscar Fraley) – turned out to have really happened. It shouldn’t have been surprising to learn that Eliot Ness was actually Eliot Ness, but it was.

The Big Bundle (Cover Sneak Peak)

And now, for the first time in several years, I am digging into the research for the upcoming Nathan Heller novel, The Big Bundle (for Hard Case Crime). The case I’m dealing with – the Bobby Greenlease kidnapping of 1953 – is not as famous as most of those I’ve examined; it was at the time, but today it seems mostly forgotten. What gives it the needed household-name-crime aspect that a Heller novel requires is a sinister connection to Jimmy Hoffa and the Teamsters. It is, in fact, the first of two novels about Hoffa and Bobby Kennedy, although this first one focuses primarily on the Greenlease case.

The Heller process is an odd one. First I have to select the true crime that seems appropriate for Nate’s attention (and mine, and yours). Second, I have to familiarize myself enough with the crime to write a proposal to be submitted to an editor/publisher, who must first sign on before I start serious work. Once we’re at that stage, I have to dig into the research, where the proposal was just a superficial look at the case. The approach has always been to look at the subject as if I were preparing to write the definitive non-fiction treatment of the case and then write a private eye novel instead.

A real problem with the proposal stage is that I am only guessing what the book will be about. The in-depth research (you will not be surprised, many of you, that I am in touch with George Hagenauer right now) is what reveals the book to me. And it always surprises me.

Here’s a small example. In True Detective, in what is essentially the origin of Nate Heller, Heller sells out to the Chicago Outfit to get promoted from uniform to plainclothes – to become a detective. He fingers the fall guy (who is playing along) to get somebody blamed and put away for the publicity-attracting murder of reporter Jake Lingle. The willing patsy, very minor in all of this but a seminal part of Heller’s story, is a real-life low-level mob guy named Leo Vincent Brothers.

So I’m researching The Big Bundle yesterday. For reasons I won’t go into right now, a taxi cab company run by a St. Louis racketeer named Joe Costello is instrumental in the story. I went in familiar with Costello in, again, only a superficial way – his name came up in the preliminary research and got him on my radar. So now, reading a book called A Grave For Bobby by James Deakin, I learn that Joe Costello’s partner in the taxi cab company…wait for it…was Leo Vincent Brothers.

This kind of thing always sits me on my ass. This tiny fact isn’t key to the story – it’s just an odd resonance, and a reminder that Heller’s life is just one long story, not really a succession of novels. Another name turned up yesterday, a Chicago thug with ties to the JFK assassination.

It would help if I had a steel-trap mind. But I don’t. I didn’t in my thirties and I really, really don’t in my seventies. So such discoveries send me scrambling back into the research.

In the meantime, I am looking for a way to insert Nate Heller into this narrative in a meaningful, credible way.

Wish me luck.

* * *

Two brief Blu-ray recommendations.

Jack Irish Season 3 is out from Acorn. It’s the final season of this series (there are actually five seasons, but the first two were movie-length episodes) and it’s a four-hour movie, essentially – one story, wrapping up the series in a smart, thoughtful way. I will go so far as to say it’s one of the best wrap-ups of a series, certainly one of the most satisfying, I’ve ever seen.

Guy Pearce plays a solid modern version of a private eye in this Australian neo-noir with all the surviving regulars back. Three years have passed since the preceding series and the passage of time and the need to learn, grow and move on is the central theme.

Great series.

Speaking of great, Eddie Muller has delivered one of the best Blu-rays of the year in the Flicker Alley presentation of The Beast Must Die (La Bestia Debe Morir), a 1952 Argentinian noir based on the Nicholas Blake novel, The Beast Must Die. Blake was really Cecil Day-Lewis, a UK poet laureate who is also the father of actor Daniel Day-Lewis.

While it’s a bit pricey, the blu-ray is essential for noir enthusiasts, and if you spring for it, be sure to watch Muller’s introduction, which provides context and more, including how-to-watch Spanish-language melodrama of this period, i.e., the acting tends not to be subtle.

You can get it directly from Flicker Alley here.

* * *

Check out this lovely review of Fancy Anders Goes to War.

Here’s a Ms. Tree: The Cold Dish preview with info.

Also here.

I did a Mike Hammer interview for what, uh, appears to be an interesting magazine….

M.A.C.

Tags: Eliot Ness, Eliot Ness and the Mad Butcher, Fancy Anders, Fancy Anders Goes to War, Interviews, Mickey Spillane, Ms. Tree, Ms. Tree: The Cold Dish, Nathan Heller, Reviews, Scarface and the Untouchable, Spillane: King of Pulp Fiction
Posted in Message from M.A.C. | 11 Comments »

A Fancy Look and the History of Heller

Tuesday, September 14th, 2021

Here is a hot-off-the-presses look at the cover of the print edition of Fancy Anders Goes to War.

As I’ve mentioned here, three Fancy Anders short novels have been done for NeoText. The emphasis is on e-book, but I realize many of you (who are nice enough to follow these updates) much prefer actual books…the much-derided “physical media” of us Luddites.

Well, the physical version of Fancy Anders Goes to War should be very nice indeed. The interior illos by Fay Dalton will be in black-and-white (color in the e-book) and with luck one day we’ll have a collection of all three novellas that will be a larger format with color interior pics.

For now, this is the only print edition. And be advised it’s strictly available online – the e-book is Kindle only – and will not be seen in brick-and-mortar bookstores.

I am really proud of this project and hope you will support Fancy, Fay and me. Here’s where you can pre-order the Kindle edition.

Pre-ordering the print edition has not gone live yet, but I will let you know as soon as it does.

[NEWS FLASH: Pre-order of FANCY ANDERS GOES TO WAR now available: ]

* * *

The main event this week is again an installment of my ongoing “A Life in Crime” series at NeoText’s site, this time dealing with the history and development of the Nathan Heller saga.

One of the great things about NeoText is their willingness – even enthusiasm – to support my work even when it’s for other publishers. I will be starting on – later this year – The Big Bundle, the first of at least two Nathan Heller novels for Hard Case Crime.

Right now I am working on the Spillane biography with Jim Traylor for Otto Penzler at Mysterious Press. It’s a big job but one Jim and I enjoy. I had to gather from several places in my house huge stacks of Spillane material to go through and, in many cases, take notes from. My collecting of articles and reviews and what-have-you pertaining to Mickey’s work goes back to my junior high days in the late ‘50s and early ‘60s, and earlier material that I picked up through collecting sources. It’s been like poking my ink-stained fingers through a brain filled with decades of memories.

My hope is that Jim and I will be able to present the story of Mickey’s life in the context of the important, much under-estimated contribution he made to the American mystery and world popular culture.

* * *

Here’s a podcast about Road to Perdition, film and (to a lesser degree) graphic novel.

M.A.C.

Tags: Articles, Covers, Fancy Anders, Fancy Anders Goes to War, Mickey Spillane, Nate Heller, Nathan Heller, Road to Perdition, The Big Bundle
Posted in Message from M.A.C. | 4 Comments »

Posts Tagged ‘Nathan Heller’

Caleb York Nominated

Sand Sale, Perdition, Hammer Theme, Spillane, Crusin’

Processing Spillane and Heller

A Fancy Look and the History of Heller