Friday, April 8, 2022

The Age of Cinema (2022)

Recently I had the pleasure of participating in a feature-length essay film experiment by director Matt Barry. As part of a folk-film challenge, we decided to make our own movie during the Oscars broadcast. Filmed over Zoom, the result was The Age of Cinema (2022), a discussion about the intersection of personal collecting and film history. I also had the pleasure of writing original music for the opening sequence. 

Tuesday, March 1, 2022

Farewell, My Lovelies: Pt. 1

A friend once told me that I was always either in the process of accessioning or deaccessioning: talking about all the new books or records that I had found, or complaining about the arduous and emotionally taxing labor of trying to weed the collection and sell items to make space. New York City is known for many things, and spacious apartments aren't one of them. 

I've hit the saturation point again, and have no shelf space (or closet space, or floor space) left. In the past, when this has occurred, I've diminished my book to collection to make space, only to regret decisions and buy the books back (often at a higher price and lower quality). This time, I'm trying something different. And, honestly, I should have done it years ago.

I've rented storage space.

Thursday, December 30, 2021

"The Girl With No Place to Hide" by Marvin Albert as Nick Quarry (1959)

The Girl With No Place to Hide gave me everything I wanted from a 1950s private eye novel—and in spades. A thoroughly hardboiled protagonist, gritty New York city ambience, wild nights in Greenwich Village bars, Bronx flophouses, incriminating photographs, two-way mirrors, blackmail, loan-sharks, shoot-outs, fist-fights, jail-house brawls, prizefights at Madison Square Garden, thugs, crooked cops, duplicitous dames—you name it, this book’s got it. But it’s also got something extra special—and that’s Marvin Albert. 

The story begins when a young woman enters a bar looking for private eye Jake Barrow’s friend, fight manager Steve Canby, who left the bar just moments before. Later, as Jake is leaving the bar, he finds a thug in the alley strangling the woman. He rescues her and takes her to his apartment for safe keeping, and she reveals that she’s in trouble, and that something bad has happened to her friend Ernie. Before Jake can find out more, he gets an urgent call to come up to the Bronx for $200. When he gets there, he realizes it was a ruse. Returning to his apartment, Angela is gone. The next morning, Jake sees in the newspaper that a photographer named Ernie was found murdered—and he fears that Angela will be the next victim.

I’ll say no more except that this is a wild ride all across New York City, with plenty of twists and turns that kept me guessing every step of the way.

Originally appearing under Albert's pseudonym “Nick Quarry” in 1959 by Gold Medal Books, The Girl With No Place to Hide was recently reissued by Black Gat Books from Stark House Press, and it magnificently captures why Albert was a writer’s writer. The Girl With No Place to Hide is the work of a real pro—a slickly designed plot that hits the right beats but not in the expected places, so readers will get what they're looking for but not in the same way they’ve read it before. Albert also shows restraint with the prose, no leaning too much on sex, violence, or slang. This is Albert’s third novel with his series character Jake Barrow—but don’t let that stop you from jumping in. If you’re like me and you haven’t read the first two yet, you’ll have no trouble following along (though you might want to rush out and find the others). 

Saturday, October 23, 2021

"The Phantom from 10,000 Leagues" (1955)

The Phantom from 10,000 Leagues (1955) is the type of movie that puts title and poster first—and story and production values dead last. And that’s ok! It’s schlocky good fun with a ragged monster that’s more cute than menacing. A bargain basement Creature from the Black Lagoon with a Cold War espionage twist, Phantom also embodies the highs, lows, and everything-in-betweens of what wound up on the bottom half of double bills in the 1950s. This particular movie accompanied Roger Corman’s Day the World Ended (1955), and together they made enough money at the box office to more than double their production costs. Sure, the monster doesn’t get enough screen time, and everyone uses the same boat, and nobody has a car, and there are lots of chance encounters happen on this one particular beach…but these sorts of decisions were made in the name of keeping the budget low, the production schedule quick, and the run-time short. So, maybe Phantom isn’t the horror classic that it tries to emulate, but it has an undeniable econo joie de vivre that makes ‘50s schlock so enchanting.

Thursday, August 5, 2021

"The Gang" (1977)

Making its Blu-ray debut from the Cohen Film Collection (distributed by Kino Lorber), Jacques Deray's The Gang (Le Gang) is a strikingly unusual and idiosyncratic arthouse gangster film that should hold many surprises for fans of French crime dramas. While it has moments that resemble French master Jean-Pierre Melville, as well as American films like The Godfather, The Sting, and Butch Cassidy and the Sundance Kid, stylistically the film is quite distinct from all of those. 

The Gang begins with the titular group of men gathering before a job, and then jumps to directly after the job, as they return with their leader, Robert "The Crazy" (Alain Delon), wounded. This leads into a voice-over from Robert's wife, Marinette (Nicole Calfari), who takes the story back to post-war Paris where they meet at a nightclub, where Robert holds the patrons at gunpoint after an American soldier insults one of the gang. From here, the story alternates between idyllic scenes of the gang celebrating baptisms, relaxing in the countryside, and glimpses of their crimes filmed with Melvillain sobriety. Robert becomes increasingly brazen as their success grows, and it's only a matter of time before his craziness gets him—and perhaps the gang—killed.

Saturday, June 26, 2021

“The Kid I Killed Last Night and Other Stories: Day Keene in the Detective Pulps, Vol. #7,” edited by David Laurence Wilson (Ramble House, 2021)

I'm ecstatic over the seventh and most recent volume in Ramble House’s series of Day Keene’s short stories is The Kid I Killed Last Night and Other Stories: Day Keene in the Detective Pulps, Vol. #7 (2021). Expertly compiled, edited, and introduced by David Laurence Wilson, this collection is one of the most interesting and illuminating volumes released yet. Devoted to Keene’s earliest stories published under his real name Gunard Hjertstedt and later tales published under pen names (John Corbett and Donald King), The Kid I Killed Last Night sheds light on the more obscure areas of Keene’s pulp career. Fans of the author will delight in being able to access such rarities, and newcomers will hopefully appreciate the author’s wit and crackerjack plots. Early or late, real name or pen name, Keene was a master of the short story, and Ramble House and David Laurence Wilson deserve applause (and lots of orders) for keeping the author’s legacy alive. 

Monday, May 10, 2021

"Ritual in Blood" by Doug Masters (1986)

Ritual of Blood was the sixth English translation of the TNT series to be released in the US. It’s far tamer than the titular first book in the series—much less sex and violence—but also way more confusing and sloppily plotted. There are still some great moments that capture the appeal of the books—extreme action pushed to surreal heights—but, overall, they seem to be lost amidst a barely intelligible narrative. 

TNT—Anthony Nicholas Twin—is a Scottish reporter who, after being exposed to a nuclear blast, has superpowers, such as eyes that can see in the dark, a body that can heal itself, super-sonic hearing, and an inexhaustible erection. In Ritual of Blood, he is on his way to a dinner party when all the guests, including the children, are slaughtered. Meanwhile, the richest men in world have been disappearing shortly after marriage, along with their money. It is believed that a secret female organization, Matrix, is behind the disappearances. TNT teams up with his arch-nemesis, Arnold Benedict, to go undercover as billionaire “John Wayne,” to marry into the organization and get to the bottom of it.

Sunday, May 9, 2021

"Manhunter" by Arnold Hano (1957)

In Arnold Hano’s westerns, the frontier is deceitful above all things, truth is rarely simple, and resolutions never easy. Where other books end—the capture of the killer and the confession—Manhunter begins.

“Ross was no longer vitally interested in Gill. He had his father’s killer, his confessed killer. But Gill could clear up who was lying, and why.

“On the heels of that thought came a terrible doubt, streaking across his brain like a yellow comet. It had all happened so long ago. Maybe it was he—Ben Ross—who was lying.”

Originally released in 1957 under the pseudonym “Matthew Gant” and recently released by Stark House Press (paired with Slade), Manhunter is emblematic of Hano’s strikingly original approach to the western genre. Revenge and closure don't drive his protagonist forward, it’s something darker and all-consuming. These sorts of qualities separate Arnold Hano’s westerns from many of his peers, and what gives them the distinction of being labeled retroactively as “western noir.” 

Saturday, May 8, 2021

"Slade" by Arnold Hano (1956)

There’s nothing heroic or romantic about Arnold Hano’s westerns. The frontier is a dark and violent landscape that doesn’t offer redemption, rebirth, or hope. In Hano’s books, the barren landscapes reveal the naked awfulness of its people. These qualities are on full display in Slade and Manhunter, two of Hano’s grim, gut-punch westerns recently reissued by Stark House Press. These great books embody why Hano deserves the title “Master of the Western Noir,” which is the name of Paul Bishop’s terrific essay-interview with the author, which is also included in the new volume.

Slade was originally published in 1956 under the name “Ad Gordon” by Lion Books, where Hano was also the editor. Hano doesn’t handle his characters with kid gloves—he puts them through hell, over and over again. Slade begins with him knocking the titular character off his high horse, and what a fall he takes. Like Icarus before him, Slade flew too close to the sun and paid for his hubris. Here, the gambler bet everything he had—including his saloon—and lost it. With only his horse, his hat, and a sock with $500 he tries to leave town, but after he’s jumped and beaten unconscious he loses even the sock. “Dilt drove both his fists to the back of Slade’s neck and kicked himself loose. Yet somehow he got up again. Finally, the wild red washed through him and turned gray and the last thing he remembered was Dilt saying hoarsely, ‘Fall, you son of a bitch, fall.’”

Tuesday, May 4, 2021

My new story "Death Drives By Night" is at Beat to a Pulp

I've been a big fan of Beat to a Pulp since I discovered them a little over a decade ago, around the same time I started this blog. Since then, it's been a dream of mine to have a short story included on their website. That dream has finally come true, and I'm thrilled that they've given a home to my story, "Death Drives By Night." It's about a rural veterinarian with a sideline patching up criminals who gets caught in the middle of a drug war when violence follows the trail back to his home. Zakariah Johnson described it as "Gritty, gravel-road-noir."

Click here to read "Death Drives by Night."

Image: Designed by me, photograph "129201-07" by phrenologist is licensed under CC BY-NC 2.0

Tuesday, April 27, 2021

"Love Like Bleeding Out With An Empty Gun In Your Hand" by Stephen J. Golds (2021)

Nothing ever lasts in Stephen J. Golds’s world—not the good, and not the bad. 

In Golds’s hard-hitting collection of noir-influenced poetry and prose, Love Like Bleeding Out With An Empty Gun In Your Hand, there’s a lot of past, not much present, and even less future. Characters look back and see what’s better left behind; they look around and don’t like what they see; and they look ahead but don’t see much of anything. Yet somehow, Golds manages to be both a romantic and a nihilist at the same time—and that’s as good as definition of noir as I can think of.

Monday, April 26, 2021

Wallace Stroby Interview at CrimeReads

I've long been a fan of Wallace Stroby's crime novels, especially his Crissa Stone series, but his latest is my new favorite. In design, Heaven's a Lie reads like something straight out of Gold Medal from the 1950s, but in feeling and tone it is completely modern, and deeply tied to the present moment. The main character is Joette, a woman who was laid off from her bank teller job when the bank downsized. Now she works a day-shift at a decaying motel during the off-season in order to pay for her trailer and support her dying mother. But that's all backstory you learn later. Stroby kick-starts the action with the first sentence of the book. A car turns over in front of the motel. Joette rushes to help rescue the driver. Inside the open trunk, she sees a bag of cash. She takes it. And, of course, the rightful owner quickly figures out she has it and wants it back. Trouble is, Joette's got nothing left to lose and is determined to keep the cash.

One of Stroby's strongest abilities is character development. He eschews archetype for realistic people made of flesh-and-blood, with urgent and relatable motivations, and who—when pushed—surprise not only those around them, but also themselves. And Heaven's a Lie is a book in which characters frequently surprise themselves. Whether it is Joette recognizing her boldness and recklessness, or Travis—the sadistic drug dealer—acknowledging his limitations and powerlessness, the cast of Heaven's a Lie face life-altering and disturbing self-realizations. 

I loved Heaven's a Lie—a tightly-knit chamber noir filled with melancholy and heartache set against a backdrop of America's struggling economy and the destructive wake of gentrification.

On the occasion of the book's release, Stroby was kind enough to speak with me about the writing process. 

Read the full interview, "Wallace Stroby on Life, Death, and Noir on the Jersey Shore," at CrimeReads.

Monday, March 29, 2021

"TNT" by Doug Masters (Loup Durand and Pierre Rey) (1978/1985)

TNT is a fitting name for a book that blasts the whole Men’s Adventure genre into another stratosphere. A bizarre fusion of James Bond and Maquis de Sade with a nuclear-age twist, TNT follows a rogue reporter who has been turned into a killing and sex machine after being exposed to radiation. The novel’s Sadean digressions into torture and exploitation are so surreal and extreme that it surpasses the boundaries and intentions of most Men’s Adventure novels that I’ve read, and would almost be considered pornographic if not for the ironically restrained prose of the novel, which feels strangely detached and matter-of-fact. As Joe Kenney describes, the writing is “almost puritan in its descriptions: cursing is kept to a minimum, [and] there’s not much gore.” 

Saturday, March 27, 2021

"Later" by Stephen King (2021)

Later, Stephen King’s third crime novel published by Hard Case Crime, is a masterful fusion of melancholic macabre and grim fantasy that recalls past masters of the crime/horror hybrid like Fredric Brown or Joel Townsley Rogers’s The Red Right Hand. There’s also an air of wonderment that permeates the entire novel and which reminds of the crime stories of Ray Bradbury (collected by Hard Case last year). “I thought of asking her if it freaked her out to look up at night and see the stars and know they go on forever and ever, but didn’t bother. I just said no. You get used to marvelous things. You take them for granted. You can try not to, but you do. There’s too much wonder, that’s all. It’s everywhere.” Horror, in Later, can be frightening, but it can also be magical and fantastic. To borrow the title of a Sergio Martino movie, Stephen King explores all the colors of the dark in Later, a playful, gripping novel that’s as moving as it is chilling. 

Friday, March 26, 2021

"High Plains Drifter" (1973)

High Plains Drifter (1973) is a landmark film for Clint Eastwood: his second feature as a director (following the stalker-thriller Play Misty for Me) and his first western as director. Among his darkest works, it’s a surreal, disturbing tale that plays out more like a horror movie than a traditional western. Inspired by the murder of Kitty Genovese (killed in public in 1964 while people looked on), High Plains Drifter is also a sharp critique of how society—and especially cinema—fetishes and romanticizes violence and brutality. Gorgeously filmed by Bruce Surtees, who transforms the western landscape into a blazing hellscape, the full infernal glory and grim beauty of High Plains Drifter is on display in a new Blu-ray from Kino Lorber Studio Classics.
Related Posts with Thumbnails