Posts Tagged ‘Road to Perdition’

An Irish-American Legend: Mickey Spillane

Tuesday, March 18th, 2025

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

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

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

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

The Man Behind the Mike Hammer Mysteries

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

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

The Hard-Boiled Revolution

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

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

Controversy and Criticism: Love Him or Hate Him

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

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

Mike Hammer: The Antihero We Can’t Forget

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

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

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

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

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

The Cultural Impact of Mickey Spillane

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

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

Spillane’s Later Years and Enduring Legacy

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

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

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

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

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

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

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

* * *

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

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

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True Noir banner

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

M.A.C.

Another Giveaway – Free Ms. Tree!

Tuesday, February 25th, 2025

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

So why not do another giveaway this week?


Paperback: Bookshop Purchase Link
E-Book: Google Play

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

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

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

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

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

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

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

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

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

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

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

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

I’m afraid I still am.

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

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

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

* * *

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

M.A.C.

Ms. Tree Gets Her Due

Tuesday, January 21st, 2025

Paperback: Bookshop Purchase Link
E-Book: Google Play

Paperback: Bookshop Purchase Link
E-Book: Google Play

At the Reading Is Fun, Not Mental website, “TL” wrote this terrific Ms. Tree – Heroine Withdrawal review, the fifth of the six Ms. Tree collections from Titan.

Ms. Tree – Heroine Withdrawal (The Fifth Ms. Tree Graphic Novel)

I can never get enough of Ms. Tree. Ever since I picked up that first issue of Ms. Tree’s Thrilling Detective Adventures (which I still love that title, even though I’m aware Ms. Tree’s creators do not – for me, it gave the book a pulp feel, which I think fit the character nicely), I’ve been hooked, and I was devastated when the series eventually ended after years at Eclipse, then Aardvark-Vanheim, then Renegade Press, and finally DC Comics. So, when Titan announced it would be collecting and reprinting the entire run, I was super-excited – sure, I had all the individual issues; but now I would have easy access to reading the stories again and again and again without having to dig through my comic boxes, unseal the bags, and pull out issue after issue to read them. Even though the collections are not telling the stories in order (they reprinted the ten DC issues first, then went back to the beginning to start with the Eclipse issues, before moving on to the AV and Renegade issues – and even those have been told somewhat out of order, collecting them by story relevance and not chronologically), I have absolutely loved curling up in my recliner and walking down memory lane with Ms. Tree, Dan, Effie, and the rest of the gang…

Ms. Tree: Heroine Withdrawal collects issues 18-27 and 29-31 (with the title having officially switched fully to Renegade Press by issue 19). These are some of my favorite issues, as they deal with Ms. Tree’s final confrontation with Dominic Muerta and the aftermath – as well as a two-part story that dealt with the topical issue of abortion. This is some of Max Allan Collins’ best writing in the series, as they give the readers a real sense of why Ms. Tree is who she is and why the world (well, her fictional world, anyway) needs a Ms. Tree in it. It’s also extremely character driving, as most of the series is anyway – but these issues in particular give readers a greater understanding of not just Ms. Tree, but also many of the supporting characters. Plus, we get our introduction to Dominique Muerta (gotta love Collins’ play on names in this series), who turns out to be a wonderful frenemy for our favorite gun-toting crime-fighter!

“Muerta Means Death,” the four-issue story that runs through issues 18, 19, 20, and 21, provides readers with a very satisfying conclusion to Ms. Tree’s vendetta against the man who had her husband killed. The title has a double meaning, since the word “muerta” is actually the Spanish word for “dead,” and at the same time, it refers to the fact that Dominic Muerta is a killer, and if you cross him, you die. I suppose it could also have a third meaning, since in the story, we learn Muerta has cancer and is on his death bed – and when Dan Green comes back to work (with a hook in place of the hand he lost in the explosion set by Muerta’s men in a previous story), he’s all set to take revenge on Muerta. It all gets confusing when Dan goes to Muerta’s house prepared to kill him – and when Ms. Tree and the police get there, they find Dan just waking up in the same room where Muerta and his nurse are both dead! Dan swears he did not do it, and Ms. Tree sets about proving his innocence. The story takes a few surprising twists, with the final one giving Ms. Tree the satisfaction she has been seeking – definitely a great read, and for astute readers (who have become accustomed to Collins’ playing with names), Muerta’s attorney, Dimitri A. Dopler, should give you a huge clue as to one of the biggest secrets in this story!

Following this big payoff, Collins gives readers a few shorter stories – the first being “Right to Die,” which addresses the issue of abortion and readers find out that Ms. Tree had an abortion when she was younger, an act she regrets now that Mike Tree is dead, and the only child she could have had with him is gone. The story addresses the issue without straying into preaching which side of the issue is “right” – instead, the story focuses on how various people deal with abortion and the doctors who perform the procedures. It has a sad ending, and let’s just say there are no real winners in this one – especially for Ms. Tree, as her actions in this story have serious repercussions…

Leading into the next two-parter, “Prisoner Cell Block Hell,” in which Ms. Tree does time in a women’s prison (with all the standard stereotypes you’d expect to see), and Ms. Tree has to face someone coming after her – after all, as the saying goes, the past always has a way of catching back up to you. After unveiling some very corrupt prison guards, Ms. Tree then gets transferred to a psychiatric facility in the two-part “Heroine Withdrawal.” For those who remember the very first Ms. Tree story in her own comic (after her origin in Eclipse Magazine), Ms. Tree has a reason to be wary of psychiatrists – and for good reason!. Only this time around, she manages to reveal the unscrupulous actions of a nurse and orderly, as well as a high-powered politician! And she makes a new friend who may or may not have been taken by aliens (let’s just say Collins leaves it up to the reader to decide at the end of the story…)

This collection concludes with the three-issue tale, “The Other Cheek,” which introduces us to a newly reformed Ms. Tree who has completed her psychiatric care and has decided to walk away from all of the violence, not even carrying a gun any more. This, of course, forces all of those who work with her – including Effie! – to step up their game, because when it comes to Ms. Tree, danger is never far away. It’s not until her stepson, Mike (named after his father), is kidnapped that Ms. Tree realizes she has no choice, and she throws off the new persona and steps back into the shoes she was made to fill – that of a female vigilante who fights for justice, and always wins! One thing I thought was a great choice for Beatty in this story (and I don’t know if it was his idea, or if Collins told him to do it), but I loved the fact that “reformed” Ms. Tree dressed so much differently – even wearing flower-print dresses! But when she goes back to her old self to rescue Mike, she once again dons that blue overcoat that give her such distinctive style! It makes for a nice visual aid to her change in character back and forth.

With only one more collection go to complete the reproduction of the entire run of Ms. Tree, I hope the sales on these collections have been such that Collins and Beatty will consider telling some more stories. With all of the controversies in the news today, they would literally have a plethora of topics to pick from to create some great tales! And who knows? Maybe they could even age the characters, so that Mike (her stepson) could be old enough to work along side her – what a story that would be! Any way you say it, we definitely need MORE MS. TREE!!!!!!

Rating: 10 old-fashioned dynamite bombs out of 10 for some truly dynamite story-telling, masterful twists and surprises, and some of the best artwork you will ever see in a comic! What more could you want?

When I read a review like this, two things come to mind: how wonderful! And, “Where were people like you when we were doing this title in the ‘80s and ‘90s”?

Terry Beatty and I began Ms. Tree as what we thought of as an exercise in coherence. Comic-book art was getting very complex and even impenetrable, and I wanted to return to the EC-style Johnny Craig school (derived from classic comic strips, chiefly by Milton Caniff) and Terry was wholeheartedly on board.

We’d been invited by Dean Mullaney to be part of his Eclipse magazine, which had a lot of top comics creators contributing new potential series. Also included in the mix were Terry and me. While Terry and I had done several projects together, we were only in this heady company because Dean was a Dick Tracy fan and I’d attracted some nice attention in the field when I took over the writing of that strip from creator Chester Gould in December 1977.

My basic concept was “Velda and Mike Hammer finally get married, and Hammer gets murdered on their wedding night and Velda takes over the PI agency…and seeks revenge.” I believe I pitched it off the top of my head when the surprise phone-call invitation came from Dean.

Another surprising thing happened after that: we were the dark-horse hit of the magazine and got spun off into our own comic book. Thanks to Dean, and later Dave Sim, Deni Loubert and Mike Gold, we continued through four publishers, ultimately DC. We had several movie options, and I did a little indie film, Real Time: Siege at Lucas Street Market, based on a Ms. Tree prose story of mine, although we were in the midst of a movie option at the time and I had to change Ms. Tree’s name. But the character Brinke Stevens played was as close, to date, of Ms. Tree coming to life on screen. Brinke did a great job on our $10,000 (!) movie, which got national distribution (okay, Troma, but that counts).

The glowing review I share here does not reflect the critical response to Ms. Tree back in the day. A lot of folks, including some who liked our comic book series, thought we were crazy doing a crime/mystery comic book in a super-hero world. We probably were, but between me writing Dick Tracy (at the time) and my mystery novels, it made sense to us.

We did get our share of nice notices – we wouldn’t have survived so long if we hadn’t – but we were singled out for withering criticism from some, particularly the Fantagraphics crowd. That got nasty and rather acid on both sides, because Terry and I were both stupid enough to take Gary Groth and company on. It was a no-win situation, and a study of what a suicide note it is to respond to criticism. (Doing so is something I try desperately to avoid, but I still occasionally, misguidedly do. I should not. I hope at this age and stage I have finally learned that lesson.)


Terry Beatty and Max Allan Collins at San Diego Comic Con 1982 (with Cat Yronwode; photo by Alan Light)

Terry and I were a team for a long time. We did Wild Dog as a mini-series followed by a serialized run in Action Comics and one fat little one-shot. We put together a Johnny Dynamite mini-series (collected as a graphic novel) for Dark Horse. And finally I brought Terry into the Road to Perdition fold with the DC graphic novel, Return to Perdition.

During our team-up time, Terry and I had many failed projects, most of them having to do with pitching comic strips to my then-bosses at the Chicago Tribune Syndicate. Our “Comics Page” that we self-syndicated to weekly shoppers was a good idea whose time never came (it ran a struggling year or so).

We also pitched a retro version of Batman to DC that was rejected but (somewhat ironically) was close to what would soon be done on Batman: The Animated Series. I say somewhat ironically because Terry went on be one of the Eisner Award-winning artists on the comic book series inspired by that show. I also worked on Batman, too, mostly a disastrous year-long experience on the monthly comic, although my work on the syndicated comic strip (I was forced off by the Chicago Tribune Syndicate after the first story) and the graphic novel Batman: Child of Dreams (from Kia Asimiya’s manga) were better received by readers and, well, me.

Still, that Terry and I were both on Batman but never together is another unfortunate irony. We did get do Wild Dog for DC, which generated a character featured on the Arrow TV show (which I never bothered to watch) (and had to complain to get paid).

Another irony is that Terry and I both wound up doing something apart that we’d long tried to do together. When Dick Tracy artist Rick Fletcher passed away, I tried to get the Tribune syndicate to use Terry as my artist. They turned him down, despite samples that pleased me very much. And we suggested, and submitted samples (initially well-received), for a reboot of the Little Orphan Annie comic strip, taking advantage of the Broadway show’s success. We were ultimately turned down, but the great Leonard Starr was enlisted to do the re-boot we’d suggested.

So when “TL” above suggests Terry and I should do more Ms. Tree, the irony (there’s that word again) is that Terry is now too busy as he’s a successful writer/artist in the syndicated comic strip field. After a run on The Phantom Sunday page, Terry moved over to handling the Rex Morgan, MD, comic strip, where he has done and is doing a fine job.

Prior to that we’d kicked around reviving Ms. Tree. It was what held up the Titan archival reprint series of the original comics – we wanted to launch that reprint series with a new graphic novel. But that never came together, although I did some preliminary work.

The silver lining here is that Titan – thank you Nick Landau and Vivian Cheung – has collected the more-or-less complete Ms. Tree in six beautifully produced volumes, in all their color and two-color glory (a long run of Ms. Tree employed one color in various shades, to create a noir feel…and save money). I say “more or less” because a few odds-and-ends haven’t been gathered in these books, and those leftovers weren’t sufficient for another volume to be produced.

I haven’t talked about it here, at least not very much, but getting the complete run gathered in archival volumes, with Terry very much supervising, has been a goal I’ve long hoped Ms. Tree could reach. Terry and I put a great deal of hard work and love for the genre into Ms. Tree, for over a decade, and now it exists in more enduring format.

I will add that someone recently wrote in to my pal Robert Meyer Burnett on his fine YouTube show, Robservations, that someone should do a graphic-novel version of our Nathan Heller audio series, True Noir (based on Heller’s debut, True Detective. The talent suggested for the job (not by Rob!) were current crime-comics favorites, like Ed Brubaker. Nothing against Ed, but I think I could put any interested publisher in touch the (wait for it) writer of a fairly well-regarded graphic novel, Road to Perdition.

M.A.C.

Completing “Completing Mickey Spillane”

Tuesday, January 14th, 2025

Before I get into the topic of the day, let me express my concern and support for my friends in the Los Angeles area over the cataclysmic fires that have destroyed so much. My friend Robert Meyer Burnett, who at this writing is safe, has spoken eloquently on his YouTube channel (see his recent Observations) about the disaster and its impact. To me, and to many, Los Angeles is the capitol city of entertainment present and past, and thinking about not just the homes and businesses, but landmark structures, that have been lost is staggering, as are the terrible losses to the populace.

I wish I didn’t hate the phrase “our hearts and prayers go out” so much, since those words are just a reflexive go-to in so many situations; but I wish I had better words to replace them.

* * *

Last week I discussed collaboration here, but I did not mention the most unusual and important collaboration I’ve been half of.

I would think most people who stop by here are well-aware of my love for Mickey Spillane the man and Mickey Spillane the writer (he hated “author”).

It has been the greatest privilege, the high honor, of my career for Mickey to have entrusted me with completing various works-in-progress and novels-in-consideration of his to fruition. The thirteen Mike Hammer novels Mickey wrote have been expanded by fourteen more novels by Spillane/Collins. Seeing my name on a book jacket next to him remains something I can barely compute.

I’ve told this story many times, so I’ll keep it brief. Mickey, who was dying of pancreatic cancer, called me and asked me if I’d complete for him The Goliath Bone, designed to be his last Mike Hammer, should he not be able to do so. I of course said I would, if that became necessary. Shortly after, he instructed his wife Jane to conduct “a treasure hunt” in his three offices at his home in South Carolina and turn everything she found over to me.

That treasure hunt, a few days after Mickey’s funeral, was conducted not just by Jane but by Barb and me. Stacks of manuscript were assembled on the Spillane dining room table, and the three of us began to sort.

Among the manuscripts and other typescript and occasional hand-written material were half a dozen substantial Hammer manuscripts – eighty to one-hundred double-spaced pages each, as well as two non-Hammer novels well in progress, Dead Street and The Consummata (the sequel to his The Delta Factor). Additionally, the completed screenplay of The Saga of Caleb York, never produced, became a novel, The Legend of Caleb York, followed by five more York novels signed Spillane and Collins, the only books I shared with Mickey’s byline that he didn’t write some of, though they were drawn from material in the unproduced screenplay. I also turned his screenplay The Menace into a novel.

The play Encore for Murder – which appeared as a Stacy Keach full-cast audio drama – later performed in Owensboro, Kentucky; Clearwater Florida; and my home of Muscatine, Iowa – was based on a Spillane synopsis. I had planned to write a novel version but that never happened. Encore does exist, with Gary Sandy as Hammer, as a special feature on the Mike Hammer’s Mickey Spillane blu-ray and as a freestanding DVD. Gary played Hammer in the Owensboro and Clearwater productions, as well.

Another screenplay, The Green Woman, with a science-fiction/fantasy aspect, awaits novelization, if time and a market present themselves. A number of Spillane fragments, some fairly substantial, may one day serve for novels or short stories. But the demand will have to be there.

In Spillane: King of Pulp Fiction, the biography that James L. Traylor and I wrote about Mickey, we included supplementary material at the end of the book. My essay “Completing Mickey Spillane” discussed each of the Spillane/Collins Hammer novels and how I approached them in the writing.

Again, there were six substantial manuscripts, literally novels in progress. Then came a number of shorter but somewhat substantial fragments in varying shape, usually a chapter or two or three, and sometimes endings, and in some instances character and plot notes. The last three novels I wrote that were discussed in “Completing Mickey Spillane” came from (unproduced) synopses Mickey did for the Stacy Keach television series (Murder, My Love and Masquerade for Murder) and Kill Me, Darling was developed from several radio and television scripts (unproduced versions of the same otherwise unpublished story).

The remaining two Hammer novels, which had not been completed at the time Spillane: King of Pulp Fiction was published, are Dig Two Graves and Baby, It’s Murder, the former developed from a couple of chapters that appeared to be a few chapters into the story – Mickey’s beginning was not among his papers.


Hardcover:
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Which brings us to the final Mike Hammer novel of the canon, Baby, It’s Murder, to be published on March 4, 2025 (a day before my 77th birthday). It derives from a two-chapter fragment in Mickey’s files. I made the story a flashback, as I needed…or at least wanted…to give the series some finality. Let’s just say the wraparound chapters (one fore, one aft) take place at a funeral.

Those of you who have followed these books, and have not dismissed them as “continuations,” as some have despite the actual Spillane content they include, I give my deepest thanks. If you haven’t read them, or read the first few and drifted away, I will say only that these are all books of which I am very proud. My greatest thanks goes to Mickey. And to Jane.

If you are interested in these books, I would suggest snagging them soon. The last few books have had fairly short print runs, and maybe half a dozen entries ago, Titan stopped publishing trade paperback reprints of the Spillane/Collins titles.

Are these the last Mike Hammer books? Or anyway the last Mike Hammer books that would contain real Spillane material? Possibly. At my age, how many projects I have ahead of me is unknown. I still have two Hammer fragments I did not complete…yet. They may become short stories, or they may become novels, if the long-promised Mike Hammer film from Skydance becomes a reality.

There is one manuscript waiting for a publisher (though I haven’t approached any as yet). Mickey wrote a draft of a Mike Danger science-fiction novel; my draft has never been completed. Mickey and I discussed the possibility that if the Miramax movie option didn’t come to fruition (and it’s long since passed) we might convert it into a Hammer.

Danger, of course, was Mickey’s original name for Hammer (when he was prepping to do it as a comic book in the late ‘40s). He and I revived it for a comic book company, Big Entertainment, where it had a three-year run (and scored a contract with the Weinsteins). The science fiction aspect of the story has Danger (now Hammer) being sent into the future. It’s a kind of Spillane take on the H.G. Wells Time Machine.

If I can find the right market, that one will be out there as a non-canonical Hammer. Mickey had an idea for a sequel, too, also with an s-f aspect.

If you want to know the many reasons for this famous, bestselling writer (never author!) leaving so many manuscripts unfinished, it’s all spelled out in Spillane: King of Pulp Fiction. For those you waiting for the trade paperback of that one, none is currently scheduled, though the book is staying in print.

One final fun fact: my grandmother’s maiden name was Spellman. And Spillane and Spellman are apparently different versions of the same name.

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This week I recorded the rest of the True Noir “History Behind the Mystery” episodes. If you have signed up for True Noir, now’s the time: go to truenoir.co.

And here’s the second “History Behind the Mystery.”

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Here’s an article on Tom Hanks and his “comic book movie” (Road to Perdition).

M.A.C.