A Zebra Mystery Puzzler #29 - You'll Die, Darling

After an eight-book break, author Martin Grove (a/k/a Marjorie J. Grove) returns to this series with his sixth murder mystery featuring gossip columnist-turned-sleuth Maxine Reynolds.  But this book marks more than just the return of Grove and his spunky columnist.  This is the first book to feature the completely revamped cover format!  Gone are the full cover painted scenes, and in their place, the publisher instead placed the cover art within the glass portion of a large magnifying glass, which lay diagonally across a colored box, with a white outline surrounding it all.  In the top right-hand corner, the number of the book in the series now appears in white against a different colored background.  Thus, the cover illustration has considerably less space within which to display a clue to the mystery, and there is now a much less chance of catching any artist signature that might give a clue to the identity of the cover artist.  I'm not sure why they chose to go in this direction, unless it was simply to set the series apart from all the other mystery novels on the shelves at the time and give it a distinctive look that would set it apart from the rest.

 

You'll Die, Darling has Maxine Reynolds hunting for the killer of a country-western singer who was preparing the change direction with her career by leaving behind her former singing partners and entering the rock-n-roll realm. Max may have been the last person to see the singer alive, as Cindy Chester went missing just as she was about to head to San Francisco to put on a show that would start her new direction.  But the story does not open with her murder; rather, it opens with her kidnapping, as her agent, Kevin Belvedere, calls Max to see if Cindy said anything to her during the interview that would explain her failure to appear in San Francisco for her scheduled concert.  A ransom demand, a scramble to get together the money, and a police stake out to capture the kidnapper lead to even more questions when the man who ultimately picks up the cash is only an intermediary - and the post office box number to where he is to mail the money does not exist!

 

Grove gives readers a twisting tale of murder, mystery, jealousy, bitterness, and revenge as Max digs deeper into the kidnapping, only to discover the songstress dead in her garage from apparent suicide by carbon monoxide poisoning.  The police inspector is satisfied, but Max is not.  The only clues she has are a few strands of blond hair in the dead woman's fist, as well as a specially made key that has the logo scraped off.  With those two things to get her started, Max sets out to question everyone involved - from the dead woman's manager, to her two former singing partners, to the singer's abusive boyfriend, to one of the former partner's drug-dealing boyfriend.  One or more them wanted  Cindy Chester dead, but the questions remain - who and why?

 

The identity of the killer is not exactly obvious, but it is not too difficult to spot.  Only a couple of the interior illustrations hold clues to the killer; the rest have to be gleaned from the story itself.  And since we are on the topic of those internal illustrations, Sanford Hoffman is once again the one providing the framed drawings in this book.  However, despite how much I normally enjoy his framed illustrations, the ones in this book seem a bit off.  For example, the first illustration (on page 65 - see below), the middle-man who is arrested for picking up the package filled with money - if you look carefully, you will see that his left hand has two thumbs!  The second picture, on page 78, shows one of Cindy's two singing partners holding a round object in her hand; however, there is nothing in the story that indicates she is holding anything, and the circular object in the illustration is no plain there is no telling what it actually is.  In the third illustration on page 113, Cindy's manager is drawn holding a drink in his right hand - but the hand itself is oddly elongated, way longer than any human hand could possibly be.  The fourth and fifth illustrations are normal, but the last one, on page 173, shows three men who show up at Max's door uninvited, and the one in front is clearly holding up a gun in his right hand; yet, in the story, the man has no gun, and there is not even any mention of a gun anywhere in that scene!  Definitely not Hoffman's finest work in the series, that's for sure!

 

The cover art, limited as it is, has no identification as to the artist.  The scene nearly describes the moment when Max comes across Cindy Chester's dead body in the car in her garage, except in the story, she slides into the seat next to the singer, she is not standing outside the car looking down at her.  The artist does manage to sneak in the strands of blond hair in Cindy's hand, which I'm assuming is meant to be the clue on the covers, as promised in the cover blurb.  What is a little weird is it appears the car in which she is sitting had two gear shifts.  Perhaps one is meant to be an emergency brake, although I will admit, I've never seen any car that has an emergency brake so far behind the gear shift as the one in this painted cover.

 

While this particular story is not Grove's best work in the series, it is still a fairly good read.  As expected the obvious suspect is not the culprit (and in fact, that particular person winds up dead themselves!), and the real culprit is not really a big surprise.  I do like, though, that Grove always has his sleuth talk through all of the clues that led her to figure out whodunnit, so that the reader knows exactly what they should have seen (if they didn't) while reading the story.  Plus, Grove's books are always fun because of Pamela Tooth, better known as "Toothy."  Her quick wit and sarcasm make the whole thing worth it!

 

Sadly, there is only one more Grove mystery left in this series (book 39), so I can't wait to see what Maxine Reynolds' final case has in store for us!

 

RATING:  7 apartment complex pools filled with green water out of 10 for attempting to mislead the reader (and poor Max) and hide the real killer's identity for as long as possible!

Whitman Mystery Stories - Gene Autry and the Thief River Outlaws

This book is definitely a far cry from what I would normally read.  As I mentioned in a recent post about the Judge Colt comic book series (Judge Colt - Gold Key Comics), I am not a fan of westerns.  The only reasons I picked this book up is because (a) I have grown to realize that a number of these Whitman Authorized Editions actually contain some really good stories, (b) the book came with its original dust jacket in pretty good shape, and (c) the price was right.  I set it on my "to be read" pile some time ago and left it there.  Well, after enjoying the Judge Colt series from Gold Key comics, I thought I might as well give this book a try and see how it holds up.

 

Gene Autry and the Thief River Outlaws is one of two Whitman Authorized Editions about the western movie star, both written by Bob Hamilton. This book, copyright 1944, appears to be the first of the two, with the second being published two years later in 1946 (Gene Autry and the Redwood Pirates).  While the book uses Autry's name and likeness, and while the character is quite well-known to the people in the story, it is not the actual Gene Autry in the tale (which makes sense, since the story takes place in the 1800s and the Old West, and the actor was clearly not around then - he simply make films about that time!).  Autry is basically a drifter, going from town to town, sometimes serving as a special deputy for law enforcement, other times simply helping out those in need, such as takes place in this book.  Like the real Gene Autry, the book-Autry has a horse named Champ, clearly modeled after the real Autry's horse, Champion.  

 

The story is the typical western fare, which you would have likely seen on the big screen.  Autry has been asked to come to Thief River Canyon to help out a friend of a friend.  It seems Jim Farnsworth is have some difficulty with the construction of a bridge that is to cross the canyon, which would allow trains to save time by taking a direct route rather than going around the canyon.  But Farnsworth has been laid up after an accident has left him with an injured leg.  On top of that, strange accidents have been taking place - the workers were all made sick through food poisoning; necessary parts were delivered to the wrong place, delaying work; a nearby fire resulted in the men being called away to help put it out; and the donkey engine broke down, resulting in more lost time while they waited for a new part.  (And for those wondering, like me, what is a donkey engine?  well, that happens to be a steam or internal combustion engine with a winch and drums used for pulling cables to move heavy loads!)

 

Farnsworth and his right-hand man, Tennessee (his real name is never said) are certain someone is behind all of these mishaps, and Gene Autry has been called in to investigate.  Autry is concerned an old enemy of his, Trig Marsden, might be involved, but the workmen have to wonder if the new engineer, Dude Dudley, is not the cause.  (Man, you just gotta love these names!)  One of the workers winds up dead when the cables on the donkey engine snap, and Farnsworth has to struggle to keep men from walking off the job.  Autry starts to look into things, and he learns that if Farnsworth does not complete the job within a specified time, the government will take it away from him and turn it over to Mr. Hind, a competing engineer who is only ready to take the job (and the money that comes with it!) away.  But will he really sabotage the work being done just to make a buck?  What do you think....?

 

Surprisingly, there are no gunfights or showdowns at sunrise as one would expect in a western tale. However, there is plenty of kidnapping, brawls, and horseback riding to remind you that this is definitely an Old West tale.  Plus, we have the one obligatory woman thrown into the mix - Betty Jackson.  A not-so-near neighbor who has been coming over to cook and keep house for Farnsworth while he is down and out.  She has plenty of playful banter with Tennessee, and she's got quite the backbone, not being taken in by Dudley's plays for her.  Of course, as anyone with common sense can figure out, when a woman in a story like this is determined to keep a particular man away from her, it is pretty much a given she will end up with him by the end of the story ... and, wouldn't you know it, this book is no different.  

 

While the story was somewhat entertaining, I have to say that the climax is what I would consider the saving grace for this book (at least for those, like me, who don't really enjoy westerns). The villains have sabotaged the bridge itself on the night before the train is set to cross for the first time - just when they think they are going to win, Autry shows up with Hind in tow, forcing Hind on to the train to take the ride with them.  Well, you can pretty much guess what Hind's reaction will be, seeing as how he knows exactly what's been done to the bridge!  I found myself cheering Autry's ingenuity in turning the tables on the crooks and forcing them to reveal their own dirty work before any damage is done!

 

The interior art is provided by Dan Muller.  I can't say for certain, but it appears Muller is likely the same Dan Muller (1889- 1976) who was a real-life cowboy, known for his art depicting scenes of the American West.  It would only make sense that an artist such as Muller would be chosen to illustrate a book like this.  His line drawings give the reader a definite feel for the period and location, making it evident the artist was quite familiar with the subject matter.  His end pages provide a rather tame scene where Autry goes into town to see what he can find out about Trig Marsden, and it even accurately shows "Pete Lonergin's Cafe" as referenced in the story itself.  Unlike many of the end pages in Whitman books, this one does not spoil any of the action or surprises from the story.  The book came with two different dust jackets - one, which I have, showing a group of cowboys galloping across the plane with an inset of the actor, Gene Autry; the other is a full wrap around cover, which shows a full-figure of Autry, holding his gun and lasso on the front, and standing beside Champ on the back.  Not sure what prompted the change in covers, and honestly, I can't say which one came first (although some sellers online list what they call "first printings" of the book with the dust jacket I have, so perhaps that is the case).

 

While not exactly my cup of tea, I will say that the story was well-plotted and had its moments.

 

RATING:  7 orders of hydrochloric acid out of 10 for a western adventure filled with plenty of action and a bit of mystery, along with a few surprise twists at the end.

Short Lived Comic Series #33 - Judge Colt (Gold Key Comics)

I am by no means a fan of westerns, whether it be television, movies, books or comics.  I remember watching The Rifleman with my mom every Saturday afternoon, and I can remember being bored to tears, waiting desperately for the episode to be over so we could watch Alfred Hitchcock Presents.  Back in the '80s, when comics increased in price from 40 cents to 50 cents, and DC Comics added those 8-extra page stories, I did pick up Jonah Hex, mainly because at the time, I was trying out pretty much everything.  I did not buy a lot of issues, as the western tales could not keep my interest.  Flash forward 40 years (yowza!  has it really been that long?), and while at a local comic convention, I stumbled across three issues of a Gold Key title about a "hangman judge" in the Old West.  They were cheaply priced for the good condition they were in, so I picked them up, figuring I could find the fourth issue at some point.  And that I did.  So, with all four issues in hand, I sat down to read them, wondering if they would hold my interest any better than past westerns had done...

 

Judge Colt was published back from 1969 to 1970, with cover dates of October 1969, February 1970, May 1970, and September 1970.  While the indicia indicated a quarterly schedule, as one can see from the cover dates, that schedule was very flexible.  Cover priced at just 15 cents, with beautifully painted covers by Steve Grass (first issue only) and Richard Green (possibly for issues two, three, and four), the comic was promoted as the story of "The Hangman Judge" - following the adventures of Mark Colt, a judge who is reknowned for issuing harsh sentences and hanging criminals more often than not.  But, as is made clear in the first issue, Judge Colt harbors a secret - he has a reason for the decisions he makes, and his travels have a purpose other than just dispensing justice throughout the towns of the American frontier.  All four issues were written by Leo Dorfman, who authored a number of Superman-related titles for DC Comics, but also writing some stories for Dell, Fawcett, and Gold Key comic companies.

 

ISSUE 1 - "The Hangman Judge" is told in two chapters, Part I being "Trial by Sixgun" and Part II being "The Justice of the Noose."  According to the Grand Comic Database, the story was written by Leo Dorfman, with art possibly provided by John Celardo.  The issue opens with Judge Colt traveling west in the 1870s, drifting across the Arkansas territory.  He happens across a fierce gun battle between a gang of thieves and military men safeguarding the army payroll.  The leader of the gang is the Tattoo Kid, and Colt takes it upon himself to track him down and bring him to justice.  He ultimately brings the criminal, along with several others, to justice, sentencing them to death by hanging.  Throughout this first issue, there is a subplot, as Colt unmasks every criminal, obviously looking for someone specific.  Plus every time Colt is forced to use his gun for any reason, his hands shake uncontrollably, and he seems incredibly frightened.  I rather liked the fact they did not reveal all in that first issue, but dangled some plot threads for the reader to learn about in future issues (which, thankfully, there were...).

 

ISSUE 2 -  "Death Writes the Verdict" is another two-part story, with Part I as "Justice Stands Trial" and Part II as "Twilight of the Chiefs."  This issue is one again written by Leo Dorfman, but the artist is identified as either Jose Delbo or John Celardo.  Oddly enough, Judge Colt looks considerably older in the art of this issue, from a young man of maybe 30 or so in the first issue to a man who appears to be in his late 40s in this issue.  The story finds Judge Colt in Indian territory, where he rescues an Indian accused of stealing from being hanged. He quickly learns there is a war brewing among the Indian tribes, and when Colt works to aid the Indian he rescued, he makes enemies of a warring tribe. In the end, though, Judge Colt sees justice served and heads on his way.  While we do not learn anything more about the man he is searching for, we do see him continue to shake every time he is forced to use his gun.

 

ISSUE 3 - "Time of the Assassin" features yet another two-parter, with Part I titled "A Man with a Mission" and Part II titled "The End of the Masquerade."  Written by Leo Dofrman, this issue is said to have art by Jose Delbo, although like the previous issues, it is unsigned and uncredited.  This time around Judge Colt helps a missionary group, who is being threatened and robbed by a group of criminals posing as actors.  It is finally revealed that Colt is searching for the men who killed his wife Maria on their second wedding anniversary - "I'll remember their faces! I'll hunt them down, Maria, if it takes a lifetime" he promises his dying wife.  And I was pleasantly surprised by the twist ending, which really caught me off-guard - and made for a great read!

 

ISSUE 4 -  "Trial by Fury" is the final story, with Part I ("Medals of Death") and Part II ("The Final Reckoning") providing readers with the last adventure of Judge Mark Colt.  The art is once again provided by Jose Delbo.  In this final tale, Judge Colt must track down a serial killer who leaves a Civil War medal pinned to the chest of each of his victims.  Colt uncovers a list of victims and races to save the next person on the list, coming face-to-face with the killer - the last person he would have suspected!  After sentencing the man to justice (death by hanging, of course), Col rides off into the sunset, wondering, "Am I any better...? Is it justice I'm handing our, or retribution?  Maybe someday I'll find the answer."

 

Unfortunately, neither Judge Colt nor readers of the comic got that answer, as the series came to an end with that fourth issue.  I was surprised at how much I actually enjoyed reading the series.  Perhaps that is because Judge Colt was not your typical western lawman, and while there were certainly some stand-offs and some gunfights, it was clear that the character only turned to violence as a last resort.  The underlying plot thread of Colt searching for his wife's killers added some depth to the character, and to the stories, and gave it a near soap opera feel to the story.  While each issue featured a different location, different villains, and a different supporting cast, one almost got a feel of "David Banner" from The Incredible Hulk television show - a loner, wandering from town to town, facing criminals and ne'er-do-wells while at the same time trying to resolve his own internal struggles.  The western aspect of the series was merely the setting.  Dorman's storytelling is what made the series a good read.

 

I would have to say this is probably a very underrated series.  Gold Key is probably more popularly known for its Walt Disney comics, as well as its Twilight Zone and Boris Karloff horror titles, as well as a number of licensed properties, such as Buck Rogers, Dark Shadows, The Man from U.N.C.L.E., Star Trek, Battle of the Planets, and others; however, the exceptional writing of this book, along with the art of comic great Jose Delbo, definitely serve to make this book more than just a typical Old West title.  Even for those, like me, who are not fans of the western genre, I would recommend picking up this title, if you can find inexpensive copies.  The stories are well-plotted and perfectly paced, the characters are far more than the stereotypical, cardboard cut-outs - they have depth, and Judge Mark Colt especially tugs at your heart strings as you keep hoping he is going to find those men who forever changed his life.

 

More and more, I'm discovering that Gold Key comics, from Western Publishing Company, was way more than a sub-par comic company.  They offered up some fantastic titles, such as this, that far surpass the stories that are being told in today's comics (I mean, let's be realistic - each of these single story issues would be dragged out over six-issued each in today's market!).  I'm glad now that I picked up these issues, and I certainly will take a closer look at other Gold Key titles I happen to run across while combing through back issue bins as comic conventions!

 

RATING:  8 ever-tightening hangman nooses out of 10 for offering up way more than just western action in through-provoking, moving stories about a man with a broken heart and a true sense of justice! 

The Hawkline Monster - a Gothic Western

You just never know what you are going to find at a library book sale.  A few months back, I went to the large book sale held at the Orlando Public Library in downtown Orlando (where else would it be?), and while I did not really expect to find anything that would interest me, I stumbled across this particular book, with its cover showcasing a rambling house with three chimneys pouring out black smoke, while far in the background, a man on a horse watches.  The tagline under the picture describes the book as "The bestselling author's wildly imaginative novel about a mansion, a monster, and a Magic Child."  Looking back up at the title, that is when I noticed the subtitle: "A Gothic Western."  Okay, that was definitely unusual.  One never thinks of Gothic novels being set in the Old West.  So, I pulled out my phone and did a quick search - and discovered that Richard Brautigan is known for his satire and surrealism, writing on themes that include the absurdity in modern life.  Well, I don't think anything could be more absurd than what takes place in this book!

 

The Hawkline Monster, which is Brautigan's fifth novel, published in 1974, centers around two bounty hunters (for lack of a better term) - Greer and Cameron. Interestingly enough, the book opens with them in Hawaii, where they are watching their mark - only to see him teaching his child how to ride a horse, at which point Greer complains that he cannot kill a man who is teaching his kid how to ride a horse (p. 9), so the two return to San Francisco, where they kill a Chinaman to make some money before traveling on to Portland - and that is where the weirdness begins.  As they are whoring up at a whore house (yeah, don't ask), Magic Child shows up.  Yes, Magic Child is her name.  An Indian girl.  Or so she seems.  She has a job for the two men, a job only they can do.  A certain Miss Hawkline, who lives in an old mansion on Dead Hills, needs them to kill a monster that lives under her house.  A monster that her father created.  A monster that killed her father.  A monster that is now trying to escape.

 

That doesn't sound too weird, you say?  Well, did I mention that Magic Child was not an Indian at all.  In fact, Magic Child did not exist at all.  Upon their arrival at the Hawkline house, Magic Child mysteriously changes into a perfect duplicate of Miss Hawkline.  Her twin sister.  And the two Miss Hawklines have no knowledge of Magic Child.  They just want the monster gone.  You know, the one that lives down in the ice caves below the house.  The house that is freezing in the middle of summer - freezing so much, there are drift piles of snow around the house.  Despite the heat outside.  Greer and Cameron want to kill the monster, but somehow, they keep getting sidetracked.  And what is that strange little glimmer of light that seems to be floating around the house, dragging a rather reluctant shadow with it?  Greer and Cameron have their suspicions, but Miss Hawkline and Miss Hawkline are oblivious to it.  Oh, and then there is the Hawkline's butler, a massive giant who is oh-so-gentle.   Sadly, he dies.  Before they can decide what to do with the body, Miss Hawkline and Miss Hawkline decide they want to have their way with Greer and Cameron -so they go upstairs to the bedrooms and pass the time.  When they return to the ground floor, they discover the butler - who is still dead - is now a dwarf, completely shrouded by the giant's clothes.  Just what is going on in this house?

 

Brautigan manages to write a creepy novel while having all of his characters maintain completely unruffled and nonchalant attitudes about all of the weirdness going on around them.  The lack of fear, the lack of surprise, and the lack of disbelief - all of it works together to make this book a thoroughly enjoyable and fun read!  I never expected to read a gothic novel set in the Old West (the book takes place in 1902, just after the turn of the century), but Brautigan makes it work.   There are vulgarities within the story - not just the language, but the sexual scenes, as well - but they actually fit with the characters from the Old West and do not detract from the gothic nature of the house and its monster.  While we do not have the standard damsel in distress, the fact that Miss Hawkline and Miss Hawkline are twins can be construed as Brautigan's way of poking fun at the gothic trope of a young woman being torn between two men - here, instead, we have the same woman duplicated, so that each man has their own version of Miss Hawkline.  In fact, until the monster is destroyed, the two women do not even have first names, so it is impossible to differentiate one from the other.

 

The realization of the monster in the book is also a unique take on the gothic theme.  In most cases, the "monster" turns out to be human, usually one of the men courting the main character.  In this instance, the monster turns out to be a very real creature, created by a mixture of supernatural and scientific experimentation, and it has taken control of the entire house.  It has a mind of its own; however, it is not completely evil, as it has a shadow that seems to have a conscience - a shadow that is being forced to follow the light everywhere it goes, unable to stop it from doing what it is doing to the inhabitants of the house.  Thus, instead of an internal struggle of good and evil seen in your typical gothic characters, we have a very visible struggle between good and evil,, lights and dark.  The book is truly a unique take on the genre. 

 

If you can manage to get your hands on a copy of this book, I would recommend it - it's worth the read!

 

RATING:  10 elephant foot umbrella stands out of 10 for mixing two genres with hilarious success and completely unexpected results! 

The Art of the Pulps - an illustrated history

This was a book I first saw at Barnes & Noble some time ago, and I considered buying it.  Instead, though, I added it to my Amazon wish list and decided to think on it some.  That was several years ago.  Every now and then I would look at it, intrigued by the beautiful art of those old pulp magazines - from heroic to horrific, from sci-fi to strange, from damsels in distress to dangerous villains.  Those old covers featured pretty much any thing you could possibly imagine in your mind's eye, bringing them to life in such vivid ways, it's no surprise they sold so well back in the day.  But alongside the beautiful art, the book provided the history of those beautifully painted covers.  Well, this past Christmas, I received the book as a present, and I couldn't have been happier!  After years of looking at it, I finally had it in my hands and could actually read it.

The Art of the Pulps takes a look at the complete history of the period of pulps, from its inception at the end of the 19th century to its heyday in the early 20th century, to its "demise" in the mid-20th century.  Edited by Douglas Ellis, Ed Hulse, and Robert Weinberg, this oversized hardcover is chock full of covers of many, MANY pulp magazines that were published throughout the decades.  After a brief foreword by F. Paul Wilson (who is probably best known for his "Repairman Jack" novels) and an introduction by Douglas, the book offers up 12 glorious chapters of pulp art, each chapter focusing on the many facets of pulp history - from adventure to detectives ... from westerns to sci-fi .... from sports to romance ... from horror to fantasy.  Just about every genre imaginable was published in pulp form.  There's even a chapter that focuses on the "heroes" of the pulp era, including The Shadow, Doc Savage, and others; and, less we forget, there's a chapter that shares some of the history of those spicy pulps that many people automatically picture when they think of "pulp" magazines - super-sexy covers with very scantily clad women (and in some instances, bold, in-your-face nudes!  The book concludes with a chapters that look at the famous artists of the pulp era and the famous writers from that time.

I will admit, I skimmed some of the chapters that discussed genres for which I have no interest - westerns and sports being the top two.  Now, that's not to say I didn't pour over the art on the covers showcased therein - but the actual history given, I ignored (no offense to Ed Hulse or Michelle Nolan, who authored those chapters).  But as for the other chapters?  I read every word, soaking in not only the gorgeous, painted covers, but the detailed history shared by the authors of those chapters - and I learned quite a bit that I did not know about pulps!  For instance - did you know the man who originally got Atlas Comics (later renamed Marvel Comics) was originally a publisher of pulps?  Nope, neither did I!  And did you know there was a pulp magazine (Spicy Mystery Stories) that featured a cover advertising a story about the "Bat-Man" - in February 1936, some three years before DC Comics would premier its own "Batman"!  Nope, I definitely didn't know that one.  And even more surprising (for me, at least) - did you know that a number of famous authors had a hand in writing pulp stories - Arthur Conan Doyle, O. Henry, Jack London, Raymond Chandler, H.P. Lovecraft, Robert Heinlein, Max Brand, Edgar Rice Burroughs, among others?  I certainly did not!  This book offers up a wealth of information that I otherwise would have never known, and for that, it was well worth the money.

But, let's face it - it's really the art that is the major draw for the book.  The amount of covers reproduced in this book is awe-inspiring.  I'm not sure where they were able to get such beautifully preserved copies of these books to scan the covers (unless they were not so great and were photo-shopped to clean them up), but they are so absolutely gorgeous, you can't help but spend quite a lengthy time staring at each page, wanting to soak up every detail of every cover.  The All Story magazine ... Blue Book magazine ... Mystery Story magazine ... Black Mask ... Gun Molls ... Bull's Eye Western Stories ... Smashing Western ... Flying Stories ... Sky Aces ... Fight Stories ... Knock-Out Magazine ... Lover's Magazine ... Thrilling Love ... Thrilling Mysteries ... Dime Mystery Magazine ... Marvel Tales ... Ghost Stories ... Weird Tales ... The Secret 6 ... The Spider ... Capt. Hazzard ... Dan Dunn ... Jungle Stories ... Hollywood Nights ... Tattle Tales ... and so, so, SO many others.  I could keep looking at this book for weeks on end and probably still never take it all in.  

So many talented artists ... so many surprising authors ... and so much care was taken to put this book together.  Pulp historians Douglas Ellis, Ed Hulse, and Robert Weinberg deserve some very high praise for the effort they put into making this book as perfect as it is.  It truly is a wealth of information and reference, and based on the back cover blurb, it has over 400 "rarely seen pulp covers and original illustrations."  I just went to a local comic convention this past weekend, and there was a dealer there who specialized in pulp magazines - so I spent quite a bit of time at his booth, looking over all of his magazines, smiling to myself as I recognized not only titles that I had never even heard before before reading this book, but characters and even some of the covers (the prices, on the other hand, were something I did not even want to look at!).  This book has been an eye-opener, and it has also piqued my curiosity with some of the obscure titles (such as Gun Molls, a short-lived magazine in which women were the protagonists in the stories), and I've begun a search to find some of those issues at some reasonable prices that I can afford!

If you area fan of pulps, or even if you are just curious about the cover art (as I was), then this book is a MUST HAVE!

RATING:  10 damsels in distress out of 10 for doing such a wonderful job of preserving this era of stories and art for future generations - may the pulp live on forever!