Friday, November 13, 2015

Comic Cuts - 13 November 2015



This column's theme tune! Play as you read...

My Irish PLR statement showed up this week. Here's how much I earned: "Total: €0.00." Not a penny... or, rather, not a point seven one of a penny, which is what the cent is currently worth. I think that will tell you all you need to know about how well this writing game pays.

Not that I help matters. I've spent most of the week writing a lengthy, 6,000-word piece about an author almost nobody will have heard of. And just to rub salt in the wound, I'm doing two more pieces about all-but-forgotten authors. One I've written about in the past but I've had a breakthrough and was able to confirm some background about the author and his family; I've also confirmed when he died, which has been a mystery to me for thirty-five years. I had to cough up £40 for certificates to confirm all this, and I'm going to have to buy a few more over the next couple of weeks. I've also just spent another £45 on books that I need to read; once all my ducks are in order, I'll post some hopefully interesting essays but I may have to think hard about trying to get some sponsorship of some description.

Or product placement.

Which is my not so subtle way of saying that I went to see SPECTRE during the week. I've been a James Bond fan ever since my mate Richard and I went to see Thunderball and From Russia With Love as a double-bill at the Odeon in around 1968 or 1969. We were taken by Richard's Dad, Mr. Wood—I don't think I ever knew his Christian name—and they were by far the greatest films I had ever seen. I added Ian Fleming to my inappropriate-for-my-age reading list and it was through my quest to find a copy of Goldfinger that I discovered Valiant comic... but that's another story.

I remember having jigsaw puzzles of the underwater battle scene from Thunderball and of Bond hiding behind a rock preparing to shoot at a helicopter, a scene from From Russia With Love. The paperback of Thunderball had two die-cut bullet holes in the cover which fascinated me, maybe because the first time I discovered the book—probably on my dad's shelf and long before I had a desire to read it—I could poke a bit of my finger through. Not like the sausages I call fingers these days.

I became particularly obsessed with the razzmatazz surrounding Roger Moore taking over the role for Live and Let Die. There were reports in every paper and magazine, and photos of a boat leaping over a spit of land and crashed through a police car. I knew Moore as The Saint and as Lord Brett Sinclair in The Persuaders (which still has one of my all-time favourite theme songs). When The Man With the Golden Gun came out the papers were just as full and I couldn't wait to see the car chase in which the car does a 360 degree roll as it flies across a river. What should have been a heart-stopping moment was utterly spoiled by having the barrel roll accompanied by a slide whistle, as if Bond was driving some kind of clown car.

Thankfully they didn't do this in SPECTRE although they do manage some dumb moments. There's a scene towards the end where Bond is running through the old, about to be demolished MI6 building to rescue Lea Seydoux. As he runs he passes pictures of Le Chiffre, Raoul Silva, M, Vesper Lynd and others and I'm not sure whether they were supposed to be projections of his tortured psyche or whether Blofeld actually wandered around the building with printouts of everyone's face, blu-tacking them to the walls of corridors where James Bond might see them in passing.

But as that's probably my biggest complaint, I have to say that SPECTRE is Spectre-acular (see what I did there?) and carried me along on a wave of excitement that my 7-year-old self would have loved, too. There were nuances that my older self appreciated, especially as I rewatched all of the Daniel Craig Bonds just ahead of seeing this new one.

It also made me wonder why Ian Fleming Foundation, who control the rights to the books, aren't putting out novelisations any more. Casino Royale I can understand as the movie did an effective job of filming the book. But Skyfall could so easily have been novelised, as could the latest. There are still novelisations out there... most, if not all, of the Marvel movies—Iron Man, Avengers, etc.—have been novelised, as were the Transformers and Star Trek movies. So why not Bond?

Talking of novelisations, on my way back from seeing the movie, I dropped into a charity shop and found a bunch of novelisations that I'm using as today's random scans. The first is The Adventurer, the old Gene Barry ITC series which had a fantastic theme tune by John Barry, which I hope you're listening to right now!

Millennium is a series I keep promising myself I'll watch again. I've seen the whole thing through twice, once on the TV and once as I bought the DVDs, but I'm sure the gloomy world of Frank Black will withstand a third viewing. I picked up the novels because, by coincidence, I'm half-way through watching The Lone Gunmen, which was an X-Files spin-off, but far more comedic... which made me think of the doom-laden Millennium (that's the weird way my mind works). And Space: Above and Beyond was the creation of X-Files alumni Glen Morgan and James Wong, cut tragically short after only one season.

I'll end on another Robert Miall (John Burke) novelisation from the ITC days, Kill Jason King. Now, there's another jaunty little theme tune. Not John Barry this time, but Laurie Johnson who did the music for The Avengers and The Professionals.

Friday, November 06, 2015

Comic Cuts - 6 November 2015

I've made a couple of nice breakthroughs with my research for the new project. The main theme is how British readers developed a taste for American gangster fiction, but a lot of bits of biography of various authors will be woven in. There are a couple of authors that I'm really interested in who have proven difficult to tie down as far as biographical details are concerned. One in particular I've written about a couple of times in the past but I've never been able confirm anything about his life and career.

This week I had a breakthrough: I now have a firm grasp of his birth and death dates, shortly to be confirmed as I've ordered up forty quid's worth of birth, death and marriage certificates—it's an expensive game, this research! I'm also having to pick up quite a bit of reference material that I can't get hold of through inter-library loan, so I'm going to have to think of a way of making a bit of extra cash to pay for the all this.

* * * * *

It's the end of the growing season for our tomatoes and cucumbers. The final tally was quite amazing:  129 Tumbeling Tom tomatoes from a single hanging basket; 21 Marmande Beefsteak tomatoes and 199 Black Cherry tomatoes. Nearly 350 in total... for a pair who usually manage to kill off any plants that come near the house that's pretty damned good.

We also had five really nice cucumbers (and a sixth that was nibbled at by snails which we threw away), and 24 runner beans. Unfortunately, the latter arrived in ones and twos, so we never really managed to get a meal out of them, just threw them in with the other vegetables.

* * * * *

This week we heard that Victor Berch has died at the age of 91. I had known Victor for thirty years as a more off than on correspondent. I remember receiving his letters, starting in the mid-Eighties, neatly hand-written on yellow notepaper, densely packed with information. Some of my old paperback publisher lists that I produced for Richard Williams owed a lot to Victor, the early Hamilton & Co. listing in particular.

It's a very sad day when someone like Victor passes away. I have to confess that sometimes my first thoughts aren't for the family but for the loss to the community of researchers, not only of a friend but of knowledge that might never have been shared or put down on paper. Thankfully, Victor was always keen to share what information he could dig up and, as the internet spread to take over from "snail mail",  he contributed greatly to the likes of Mystery*File and especially Al Hubin's monumental Crime Fiction Bibliography as part of the little circle of researchers trying to keep the latter as up-to-date and accurate as possible.

Kenneth Johnson has written a fantastic tribute to Victor at the Mystery*File website.

* * * * *

Today's random scans are a handful of war-themed novels I picked up in a charity shop last week. I have an earlier edition of the last one, Goshawk Squadron by Derek Robinson, and I've written about Robinson previously. The others are from the 1970s, the earliest a 1970 edition of Fred Majdalany's Patrol, previously published by Panther in 1966 and in hardback in 1953. Majdalany (1913?-1967) had been a journalist and theatre publicist who had written The Monastery, a well-received book about the Battle of Cassino. After the war Majdalany found work as a film critic for the Daily Mail.

Both Patrol and Reign of Hell have covers by Michael Codd. I found myself writing about Sven Hassel a few months ago for a project that doesn't seem to have come off. Shame, as it would have been fun. The research won't go to waste, tho'.

Heinz Konsalik was the pen-name of Heinz Günther (1921-1999), a German war correspondent who turned to writing novels. According to Wikipedia he wrote 155 novels, which is an astounding number if they were all war novels. One of the copies I picked up was so poor that even I couldn't be bothered to put in the hours it would have taken to clean up a cover scan to my usual quality threshold. It's a shame as I rather like the anonymous cover artist Tattoo (an imprint of W. H. Allen) used for these novels.

 
(* The photo at the head of today's post is of the Colne Barrier, taken last Sunday during our morning walk. Actually, it's four photographs stitched together in PhotoShop.

Wednesday, November 04, 2015

Commando issues 4859-4862

Commando issues on sale 5th November 2015.

Commando No 4859 – The Duellist
At the controls of his trusty Airco DH2 biplane, Lieutenant Andrew Maxwell of the Royal Flying Corps was used to duelling with German pilots high above the trenches.
   However, after being shot down and taken prisoner by a deranged, sword-wielding enemy officer, Andrew soon wondered which type of duel was more dangerous — in the air or on the ground.

Story: Steve Coombs
Art: Rezzonico
Cover: Ian Kennedy

Commando No 4860 – Hero’s Badge
It was a jewelled armlet, a family coat of arms. It had been presented to the warrior de Marneys at Agincourt in 1415 by a grateful king and carried into battle by the family sons ever since.
   All the de Marneys were fighting furies who either conquered or died gloriously. Then came the Second World War, and young Desmond de Marney, the last of the line. He was no hero — he wanted to be a farmer instead of a soldier. How would he learn overnight to be a leader of men, to wear with honour the “hero’s badge”?

Introduction
Not many of our stories feature the Battle of Agincourt. Therefore, we thought we’d celebrate the 600th anniversary of that major victory in the autumn of 1415 for King Henry V against the French during the Hundred Years’ War.
   The first handful of pages of this classic from 1965 are almost like a mini-history of British warfare throughout the centuries. Soon we reach World War II and a warrior legacy passed down the ages in the form of an historical artefact — a family coat of arms.
   Hero’s Badge is stirring stuff, I hope you agree.—Scott Montgomery, Deputy Editor

Story: Clegg
Art: Sostres
Cover: Davis
Originally Commando No 193 (December 1965)

Commando No 4861 – Day Of The Werewolf
Although the War in Europe was over by June 1945, some groups of fanatical S.S. soldiers caused chaos for the occupying Allied forces. These rogue Nazis were known as “Werewolves” and would never surrender.
   Major Rick Hogan of the Office of Strategic Services had a plan to deal with a ruthless Werewolf group who attacked army bases and robbed banks, preying on military and civilian targets alike. He would infiltrate them, using a German spy under his command, and bring down this guerrilla threat once and for all.

Story: Shane Filer
Art: Vicente Alcazar
Cover: Janek Matysiak

Commando No 4862 – Prisoners Of War
They were escaped prisoners-of-war, desperate to risk anything rather than be recaptured. They had even put on enemy uniforms, armed themselves with enemy weapons. There was nothing they would not do to avoid going back into captivity.

Introduction
A former Commando staffer once told me that he almost used to dread whenever the much-loved 1963 war film “The Great Escape” had been on television. Long before satellite movie channels, streaming, or even DVD, the antics of Steve McQueen, James Garner et al were solid, reliable Christmas/Easter/Bank Holiday entertainment on the British small screen.
   The latest viewing usually led to a flurry of hopeful story synopses identical to the movie (as if the staff were unaware of it) or queries as to whether Commando had “done” that particular tale — and if not, why not?
   So, as you’ll see here, Commando does occasionally do prison camp stories but they have to be different to the aforementioned Hollywood classic. This one delivers the goods. It has a fairly dark edge, which is enforced by Ian Kennedy’s magnificent, moody cover.—Scott Montgomery, Deputy Editor

Story: Lomas
Art: Dalfiume
Cover: Ian Kennedy
Originally Commando No 1093 (January 1977), re-issued as No 2419 (November 1990)

Monday, November 02, 2015

Eardley Beswick

Eardley Beswick seemed destined for success as a writer when his debut novel appeared. Original Design received many glowing reviews—not only the UK—and was a fine example of what Orwell might have reluctantly called proletarian literature. The book was acclaimed by Compton Mackenzie as "the most irresistibly absorbing novel for a twelvemonth" and was the first recommendation of the Book Society.

More than one review compared the novel to Arnold Bennett's Imperial Palace, which followed the inner workings of a hotel based on the Savoy Hotel; in Original Design we followed the activities of a large iron factory in the Midlands at the beginning of the Depression. It introduces scores of characters and shows their lives and loves against the background of Jabez Perriman, Sons & Co., the factory in which they all work and on the success of which they all depend.

The factory, employing 1,200 men, is headed by Henty Perriman, compelled to assume the position on the death of his brother Jabez who "had killed himself patriotically making money too strenuously during the war." Through the novel the reader meets members of the board, the general manager of the works, department heads, draftsmen, secretaries, foremen, typists and artisans.

The chief character followed is Reggie Pernett, the draftsman who invented the original design of the title for presses that can be used to manufacture unbreakable glass which save Perrimans from going into bancruptcy. Due to Pernett's innocence and financial hardship, Henty Perriman is able to take the credit and the profits.

Elmer Davis in Saturday Review, observed "as it should always be in a good novel, the whole is greater than the sum of its parts; the real excellence of the story is its picture of an industry; the type of all Industry, in prosperity and depression."
The Technocrats can find a good deal of nourishment in this book; and if the Marxians only knew it, its dispassionate picture of the five greedy and stupid men who dispose of the capital of Perrimans' stockholders and the lives of its employees is far more effective collectivist propaganda than conscientiously "proletarian" fiction. Mr. Beswick, apparently, has no panaceas; his only hope is in "a society immunized against this cumulative environmental hardening of the hearts... the fact that the author has no axe to grind makes his grimly disinterested picture of things as they are all the more effective."
Beswick followed up this worthy and well-received novel with a series of thrillers under the pen-name Fareman Wells and under his own name. Christine in Murderland was "an ingenious and amusing detective fantasy." Describing the book as "A refreshing book to read," Aberdeen Journal (21 February 1933) says of the plot:
It was Christine’s fortune to fall in with Smith, a lunatic author, who deluded her so successfully with tales of persecution and plots that she thereafter spent some of the most enjoyably hectic days of her life. It is a lively and exciting tale quite out of the usual, with plenty of incident, some danger, and a real love interest.
The Fareman Wells byline was used on the newspaper serials "Speed Boat" and "Five Crooked Chairs", the former about a first-class but near-destitute motor mechanic named Tanner trying to find work in Essex. The latter stars a solicitor's clerk whose hobby is experimenting with wireless and who discovers a new wireless ray, falls in with a girl he has admired from a distance and becomes involved in a plot involving five Spanish chairs.

Under his own name, Beswick penned The Lorry Lady as his "second" novel—ignoring his work as Fareman Wells. It was the story of Madie Scaife, a girl of great charm and good education who, forced to earn her own living, took over a couple of lorries and conducted a transport business. She drives a rattling five-tonner and is her own business getter.

After the publication of a collection of twenty-three stories (Hundreds and Thousands) in 1935, Beswick's third and final novel  appeared. Pennine (1936) is another novel about industry telling the stories of how Tom Loman made his fortune as a contractor by shrewd jobbery and how his son, Percy George, squanders it. Many other characters are woven into the tale set in a smoke-hazed Lancashire on the edge of the grim Pennines.

His follow-up was the serial "Mark 1702" which features an Investigation Officer for the War Office named Geoffrey Hendringham, who is testing a new appliance when his workshop is shattered by an explosion. The appliance is known only as Mark 1702 and foul play is suspected.

This turned out to be Beswick's last known serial and he seemed to disappear as a writer as Britain geared up for war.


Robert Eardley Beswick was born in Manchester on 2 September 1885, the son of William Henry Beswick (1859-1925), a surveyer and civil engineer, and Ada (née Eardley, 1858-1952). His siblings were Ada Lilian Beswick (later Roberts, 1884-?), William Eardley Beswick (1886-1888) and Kenneth Eardley Beswick (1895-1980).

He was educated at Manchester School of Technology and worked as a civil and mechanical engineer and was a member of the Institute of Production Engineers. He lived in Exmouth for 18 years, where his father was employed by the Exmouth Local Board of Health, and subsequently lived in Essex. He was married to Marjorie Shaw (1892-1974) in Chelmsford in 1912 and had three daughters. The family lived in Hornchurch, Sussex, and then in the small village of White Notley, near Witham, Essex, for many years.

His writing career spanned the decade of the 1930s, his stories appearing in the Manchester Guardian, John o'London, the Sketch, Daily Mail, Daily Mirror, Cornhill Magazine, 20-Story Magazine, Lovat Dickson's Magazine, The Grand Magazine, Windsor Magazine, Illustrated London News and elsewhere.

Despite his success, Beswick seems to have returned to his engineering background. His brother was the founder of K. E. Beswick Ltd. and brother Robert may have worked with his sibling during and after the war. In December 1940 he filed an application for a patent for a quick action attachment for objects that need to be held tightly but temporarily; in September 1946 he applied for another patent, this time for a “Quick action nut”—a nut that could be secured or released with a small angle turn.

Nothing more was heard from Eardley Beswick as a novelist, outside of a few reprints, after 1939. It is presumed that continued to work in the engineering industry until his retirement. He subsequently moved to Exmouth, Devon, where he died on 1 January 1979, at the age of 94.

PUBLICATIONS

Novels
Original Design. London, Grayson & Grayson, 1933; New York, Minton, Balch & Co, 1933.
The Lorry Lady. London, Gramol Publications, 1936.
Pennine. London, William Heinemann, 1936.

Novels as Fareman Wells
Christine in Murderland. London, John Long, 1933.
Five Crooked Chairs. London & Dublin, Mellifont Publications, 1936.

Collections
Hundreds and Thousands. Tales, illustrated by Doris Boulton. London, Grayson & Grayson, 1935.

Friday, October 30, 2015

Comic Cuts - 30 October 2015

I've had a quiet week with the occasional minor frustration and the occasional minor triumph to punctuate the days. I've been putting in a lot of effort to piece together the story of an author who worked in both the UK and USA and whose writing career came to a tragic end. There are still a few gaps that I need to fill and I'm trying to figure out what would be the best way to present the results.

It's going to take me a while to write up the results anyway because I'm back to the grindstone of Hotel Business and I need to think about not only the December issue, but also the January issue, where the deadline is fairly close to new year and I'll need to get as much in before Christmas as possible. So the rather patchy appearance of new articles on Bear Alley is likely to continue for the foreseeable future. If I can find subjects that I can cobble together quickly, I'll do so, but a lot of the research I'm doing at the moment requires a lot of research for very little reward... every paragraph can take an hour to write as I have to fact-check every single sentence. Who'd'a thought Wikipedia could be so unreliable or lacking in detail? That Google searches could turn up nothing? We're so used to just looking up things on the internet nowadays – and I'm doing it constantly for work – that it can be quite  a blow when the answer isn't instantly available.

While I'm thinking about problems... one of the main ones is that I'm not a bottomless money-pit and I'm having to spend a little cash on reference material. This week I tried to purchase three books only to find that two of them were unavailable; the third, I'm pleased to say, arrived well-packaged and safe, so it's not all bad news. It was, however, a little frustrating as it's not the first time I've ordered things online only to find they've sold... and, indeed, the two books I tried to buy are still listed as available.

Since the cheapest copies aren't available (I need them to read, so condition isn't always vital), I'll have to figure out what my next move is. I like to have books to hand, but as the price rises, it begins to make more sense for me to spend the money on a train ticket and head down to the British Library, especially if I have three, four or more books to check out that would otherwise cost a fortune. It's nice to have the books conveniently in my possession to refer to, but sometimes the cost just isn't worth it.

The research is taking me down all sorts of odd alleyways. At the moment I'm quite interested in the language used in gangster thrillers in the 1930s. There are phrases or slang terms that I've stumbled upon that I know nothing about as they're not commonly used these days. For instance, a "Parthian shot" is an archaic version of what today we would call a "parting shot", perhaps a rejoinder made just as you leave. It makes sense that some folks, mishearing "Parthian shot" would say "parting shot". But apparently, "parting shot" predates "Parthian shot"... at least that's what Wikipedia says.

The other term that I learned this week was "taxi-dancer", which I hadn't heard before but which I'd seen only recently when I watched They Drive By Night, the 1938 movie base on a novel by James Curtis. The term appeared in a James Hadley Chase novel published in 1939 but was actually quite common in the 1920s. In the days of the Palais-de-Dance, dancers were available to hire for a fee, often in the form of tickets paid for at the door.

In Man Bait (1927) Marie Prevost played an alluring shop girl who is fired after she fends off with her fists the advances of a customer; she ends up as a taxi-dancer in a cheap dance hall where she meets the son of a millionaire. Joan Crawford in The Taxi Dancer (1928), Barbara Stanwyck in Ten Cents a Dance (1931) and Nancy Carroll in Child of Manhattan (1933) all played New York taxi dancers.

In 1933, a Reuters news report on the low wages paid to women in Shanghai, noted that "Many Russian girls have been forced to earn their living as "taxi" dancers in cabarets, but so far no British women has sought this means to make money." Apparently, Shanghai's taxi-dancers were notorious; they certainly caught the eye of Harry Greenwall when he penned Pacific Scene (1938) about his travels in the far east.

In They Drive By Night, recently released from prison, Shorty Matthews (Emlyn Williams) goes to visit his former girlfriend only to find her dead in her apartment. Fearing the police will pin the murder on him, he goes on the run; he first heads north, hitching a lift with a lorry driver (hence the title), but after a run-in with the police en route decides to return to London to clear his name. This he does with the aid of Molly (Anna Konstam), who questions clients at the dance hall where she works as a hostess.

Interesting where a single phrase can take you... and now I've spent even longer explaining it. Now you see why researching a book takes me such a horrific amount of time!

Our random scans this week are a bunch of steampunk titles by George Mann, although inspired by my stumbling upon a copy of K. W. Jeter's Infernal Devices when I took my Mum down the pub for lunch on Tuesday. Any excuse to show these off.

 
 

Friday, October 23, 2015

Comic Cuts - 23 October 2015

The week has sailed past without making much of an impact. With Mel back from the US, we had a lazy weekend trying to catch up on some TV... and we've been playing catch-up over the whole week. I'm also playing catch-up with a whole load of DVDs that have started to pile up, so I've been watching an odd mix of films. The last few I've watched have been Death Of A President (2006, dir. Gabriel Range), which was a gripping docudrama set around the fictional assassination of George W. Bush; Mordecai (2015, dir. David Koepp), which was a missed opportunity made worse by Johnny Depp trying to channel Terry-Thomas; Monsters: Dark Continent (2014, dir. Tom Green), which was harrowing in its war scenes, but there was nothing new, and the addition of alien invaders added nothing of substance; 3 Days To Kill (2014, dir. McG), which was, I suspect, meant to be a heart-warming tale of an assassin reconnecting with his estranged daughter, but which actually left me feeling bored; Super (2010, dir. James Gunn), which was a bit like a low-budget Kick-Ass with more violence and a few laughs... I need to see it again to figure out if I actually like it or not; and 2046 (2004, dir. Wong Kar-Wai), which I watched and then immediately had to read the summary for on Wikipedia just to get the storyline straight in my head. Beautiful, elegant and the sort of film where you see something and spend the next five minutes wondering whether it's significant or not. Why are we watching their shoes? Is that symbolic of something? Why is it always Christmas Eve?

Anyway, between that lot and a box set of Lie To Me season one (seen before, but Tim Roth is always worth watching again) I seem to have spent my entire week looking at a screen.

The most entertaining movie experience of the week was actually something I heard. I decided to break the back of the James Hadley Chase cover gallery without realising quite how many different covers we were talking about. I had about 90-100 in place when we started. I've just counted up the finished total: 344 – by a long-shot the most comprehensive cover gallery I've managed to date.

While I've been working on all these covers, I've been listening to a handful of newly discovered podcasts. The best of these has been The Secret History of Hollywood, narrated by a guy called Adam Roche. It has had only a handful of episodes but they're incredibly long and detailed. I've listened to the three-part biography of Alfred Hitchcock, which runs for an astonishing 19 hours and 40 minutes. I've also listened to "A Universe of Horrors" (about Universal horror stars Dracula, Frankenstein's monster, the Wolfman and the Mummy), a mere 7 hours, and Basil Rathbone's Sherlock Holmes outings, which is a blink-and-you'll-miss-it 2hrs 20mins.

The research that has gone into them is amazing. Adam Roche also runs another classic movies podcast, Attaboy Clarence, which I've yet to explore but which I'll be taking a look at shortly.

My other new favourite is the Adam Buxton Podcast. Buxton we've followed since the days of the Adam and Joe Show on Channel 4. He's always entertaining, whether its on radio (his 6Music shows Adam & Joe and Big Mix Tape are classics), on TV (it was tragic that BUG didn't last longer), or online (check out his YouTube channel); he recently co-wrote a sitcom pilot (The Cloud) with Graham Linehan, which will hopefully develop into a series.

Today's random scans are a number of editions of the same book, which I happen to be reading at the moment.

 

Thursday, October 22, 2015

Commando issues 4855-4858

Commando issues on sale 22 October 2015.

Commando No 4855 – Eagles Of Dunkirk
Corporal Sean Carrick excelled as an anti-tank gunner in a Daimler Dingo scout car, whether at Dunkirk or in the cruel heat of the North African desert.
   However, when an age-old family feud is re-kindled, Sean soon finds himself fighting to save his reputation as outrageous lies are spread about his past. His dilemma is that his true life story may be even more dangerous to reveal.
   This particular Eagle Of Dunkirk would have to fight ‘friend’ as well as foe to be able to stretch his wings and escape a deadly destiny.

Introduction
With only a few notable exceptions — step forward the Convict Commandos — recurring characters have been rare on the pages of Commando over the last 50-odd years. However, we were of the opinion that you, our readers, might like a series which carried the story over more than one issue. With the pen of Ferg Handley recruited to do the writing, we decided that a historical saga spanning many generations would hit the spot.
   After the thrilling events of the previous instalment set in the trenches of the Great War, our generation-spanning epic tale of three inter-linked, entirely fictional families is nearing journey’s end. Now we are in familiar Commando territory, World War II — more specifically the frantic retreat at Dunkirk and then the killing zone of the arid North African Desert. We hope you enjoy this story of courage and honour.
   The stunning conclusion to this 13-story saga will be coming soon. Don’t’ miss it!—Scott Montgomery, Deputy Editor

Story: Ferg Handley
Art: Keith Page
Cover: Keith Page

Commando No 4856 – No Escape!
All along the British lines the terrifying news spread like wildfire.
   Brave men trembled. “He’s in our area. The Engineer of Death is here!” For they knew that once “the engineer” had set his fiendish secret traps, no one who fell into them would ever walk away.
   That’s when an unlikely hero volunteered, vowing to beat him at his own game. A skinny little genius with glasses, whose name was Percy Potts…

Introduction
It may not come as too much of a surprise to learn that the working title of this book was “Engineer Of Death”. This fairly lurid phrase is alluded to several times throughout the text and cleverly foreshadows this character, building him up as a fearsome adversary for our mild-mannered hero and arch rival, Percy Potts.
   In typical Commando fashion, however, when the two finally meet, things don’t quite turn out the way we might expect them to.—Scott Montgomery, Deputy Editor


Story: Bounds
Art: C.T. Rigby
Cover: Davis
Originally Commando No 194 (December 1965)

Commando No 4857 – Red Ace
Sergeant Alek Pavlikov had hardly any flying hours under his belt but still felt ready to join in the fight against the Luftwaffe in the battle for supremacy of the skies above Kursk.
   His dreams of heroism were soon overtaken by a dawning realisation that a surprising number of his fellow rookies were dying on their first mission.
   Alek wondered if a ruthless superior officer had something to do with it. Was his fearsome major, Yuri Zaleski — the Red Ace — willing to risk Alek’s annihilation in a quest for personal glory?

Story: Ferg Handley
Art: Morahin
Cover: Janek Matysiak

Commando No 4858 – Danger Ahead
A stretch of treacherous water to cross, and no boat to do it in…
   All they had was a few plywood drop tanks jettisoned from aircraft, lengths of bamboo, bits of wood…and their courage.
   Yes, they needed courage most of all, for entering that stretch of water risked a horrifying death. In the search for survival there was deadly danger ahead…

Introduction
I’d like to imagine — or certainly hope — that at least one Commando reader from the mid-1970s may have since asked, “Remember the one where a joiner made a raft out of old junk, battled hungry sharks and then helped fight the Japanese…?”
   Well, this is that very book!
   Our resourceful carpenter hero, “Chippy” Stark, emerges from some fairly standard Aussie/Pom rivalry to become a true Commando hero in this offbeat classic.—Scott Montgomery, Deputy Editor

Story: Lomas
Art: Cueto
Cover: Ian Kennedy
Originally Commando No 1018 (March 1976), re-issued as No 2356 (March 1990)

Friday, October 16, 2015

Comic Cuts - 16 October 2015

I have spent a week on my own while Mel was in America for a friend's wedding and thought it was going to be an opportunity to catch up with a load of things that I haven't got around to doing over the past couple of months. There are some boxes of paperwork that need sorting, some magazines that need putting into some sort of order, and into some sort of container and into some sort of place that's both tidy and accessible.

Didn't manage any of that. I did get some other magazines out of a couple of boxes that were tidy and accessible and scanned some of the pages. Haven't quite finished with them, so they're filling up floor space. Then there was the notion that I'd get my James Hadley Chase gallery finished with a blitz on scanning the last fifty or so covers... didn't quite get to that, although the gallery currently (as of writing) stands at 127 covers and might have had a few more added before the day is out. I was also busy writing up a couple of threads of the Caught In The Act project but had to sideline myself to get the latest issue of Hotel Business finished as there were some last-minute changes needed.

To give you an example: an advertiser asked what themes we were covering in each of our sections and then seemingly (or at least it seemed to me) picked one at random, saying they wanted a half-page of editorial if they were to book an advert. This isn't unusual, but their product had bugger-all to do with the section chosen. Their publicity department eventually – on Friday – get back to us to say they're struggling to create some editorial relevant to the section. Now, Friday is already a week after the editorial deadline and we really should have everything designed and back out to clients to see if they need any corrections done.

Since they can't get their square product to fit into the round hole of this month's theme, their solution is to send what they have to me and ask that I put something together because we all know that having someone with no clue about the product and no access to anyone who does know about it is the best person to write 500 words promoting it. There's an awful lot of detail can be fitted into 500 words. And this piece of irrelevant tosh was supposed to replace two relevant features that I had already lined up and cut into the texts of two others.

Thankfully, at 5:15pm on Friday a possible solution popped into my e-mail box. Someone else at the firm sent over a note asking whether we could make sure we mentioned that there was a special offer on at the moment. Which to my mind meant that we could legitimately run this as a news item and not as an irrelevant feature in one of the sections. I cobbled together the text on Sunday and waited for a response to my idea that we move it to the news. We were given the OK at around 11.30am on Monday and, thanks to another couple of late-comers turning in their copy, we managed to get everything into the studio.

We didn't get the finished designs until Tuesday afternoon because of problems with another advertiser and a late-running supplement. Then two advertisers decided that they wanted to change the images that they had supplied up with, so we spent most of the afternoon dicking around with that. Oddly, that's one of the reasons why I managed to fill do many gaps on the Chase gallery, because there were lulls while we were waiting for people to get back to us that I spent either whizzing through some of the 190 unanswered e-mails that had built up or pulling up a scan for cleaning, which was actually quite satisfying because it was something that I had control over, that I could complete without interference from others. It's actually quite relaxing.

We got there in the end. We should have sent everything off to the printers Tuesday but we were given an extension as there was still ad material that needed to be passed before the gaze of the advertisers. The final approvals came through, the final corrections were done and we signed off at 10:30am, giving me 30 minutes to get ready for another trip to the dentist to get the stitches out of my gum from my ghastly trip to the dentist two weeks ago.

This time it was a far more relaxed visit and only took a matter of minutes. However, that's not the end of it by a long shot and I have more dental appointments to come next month.

But while I was in town I dropped into a charity shop that was offering five books for £2 and, as they had some older paperbacks, I picked up a handful. Including the Telzy Amberdon novel by James H. Schmitz, which I haven't read since the late Seventies. I love that Tim White cover. But I was thinking that the Telzy novels would make a great series of movies.

I've only just caught up with the Divergent series of films, watching Divergent and Insurgent over a couple of evenings. The one thing that struck me was that Divergent was a metaphor for going to boarding school, although here you where you were surrounded almost entirely by students with almost no adult supervision, which was provided by the sixth formers. If that's not the case, the romance between student Triss and teacher Four takes on a whole new and rather sinister aspect.

But my point is that the film is all about finding out how you fit in and wanting to gain control over your life so that you can make your own choices. Oh, and romance and fighting against the system while you run around with your new-found friends jumping off trains and buildings. It's not the best of the recent run of post-Twilight dystopias – that would be The Hunger Games – but it's not bad and it will be interesting to see where the third film takes the story.

But my favourite viewing of the week has been Daredevil, the Netflix series released back in April. I was looking forward to this as DD is probably my favourite Marvel character and Marvel have had an astonishing run of incredibly good shows and movies these past few years. Well, Daredevil didn't disappoint. It retains the darkness of the DD 1998 reboot and the feel of those Brian Michael Bendis or Ed Brubaker series' that appeared in the 2000s. The characters are all integral to the story... Foggy isn't just a comedy sidekick to be wheeled out when the mood needs to be lightened; Karen Page isn't just wheeled out when the story demands a screaming woman for DD to save; and their actions have consequences, sometimes deadly. I'm really looking forward to the next season.

The rest of my purchases on Wednesday are my random scans for today.

 
 
 

Monday, October 12, 2015

Edward Dean Sullivan

In his "Looking at Hollywood" column published on 18 April 1938, entertainment reporter Ed Sullivan noted the passing of his almost namesake. "Edward Dean Sullivan I never met, although the names had been confused for fifteen years, and he got my mail and I got his. We even went to the same barber out here, at the Beverly Wilshire hotel, and left messages for each other, without ever meeting. They tell me that he was a swell person; they never had to tell me that he was a fine newspaperman."

Sullivan had died suddenly of a heart attack in his apartment on 4 April 1938 at the age of 49. He was found several hours later by an employee, slumped in a chair. His wife, Margaret White Callahan Sullivan, had been visiting relatives in Connecticut and was on a plane heading west when the body was found.

Sullivan had been a resident in Hollywood for only a few years, working as an uncredited scenario writer for X Marks the Spot (1931) and as an also uncredited contributor to the screenplay of the Wallace Beery and Clark Gable drama Hell Divers (1931). His screenwriting credits included Hellbound (1931), about the discovery of an old book of magic, starring Leo Carrillo, Lloyd Hughes, Ralph Ince and Lola Lane. With Gordon Kahn (who received a story credit on X Marks the Spot) he adapted  his own story for The People's Enemy (1935, a.k.a. Racketeers) starring Preston Foster as gangster Vince Falcone. A number of films based on screen stories by Sullivan appeared posthumously, including screwball comedy There Goes My Heart (1938), gangster drama  Big Town Czar (1939) and the musical Ma, He's Making Eyes at Me (1940).

Born in Connecticut in 1888, Sullivan was a police reporter, feature writer and sports editor working for the Herald-Examiner in Chicago in the 1910s/20s. He was married to Margaret Sullivan, an Ohio-born writer of Irish parents, in around 1918. In 1930 the two were living on Fifth Avenue, Manhattan, and both were writing for magazines.

Sullivan had made his name with the book Rattling the Cup on Chicago Crime, published in May 1929 by Vanguard Press. Although not the first book on the subject – Chicago Gang Land: The True Story of Chicago Crime by Chicago Tribune journalist James O'Donnell Bennett (1928) and It's a Racket! by anti-unionist Gordon L. Hostetter* & Thomas Quinn Beesley (Chicago, Les Quin Books, Mar 1929) both preceded it – Sullivan's book had a wider impact.

"Rattling the cup" was a slang term that meant the same as "squawking" and Sullivan had much to squawk about as he knew personally many of the gangsters. In his introduction he set out that the intention of the book
is to explain what the whizzing bullets of Chicago's Gangland are aimed at—and why. To give insight into the combustion which bombs political candidates out of their homes; to show why a legion of Chicago policemen have been slain, why an Assistant State's Attorney was murdered with two dead gangsters in the automobile beside him, and how it happened that seven men were lined up in a garage gang headquarters and torn to pieces with three hundred machine gun bullets.
Sullivan detailed many of the deaths in connection with booze, beer, gambling and vice and revealed that in only one instance had the alleged slayers been brought to trail. Similarly, Hostetter & Beesley compiled information on no less than 157 bombs that had been set or exploded in Chicago in the fifteen months between 11 October 1927 and 15 January 1929 with none of the perpetrators brought to book. Sullivan's book ended on an optimistic note that then recent events would bring an end to the crime wave.

Sullivan's follow-up, Chicago Surrenders began on an opposite and disheartening note that thuggery "has met no serious rebuff on any front. Its hoodlum marshals obviously have the situation well in hand." Sullivan's optimism has seemingly turned to pessimism as he believed that repealing the Volstead Act would result in hordes of unoccupied former booze racketeers turning to other forms of robbery and criminality in order to continue their monied lifestyles.

In some ways, Sullivan's pessimistic outlook proved to be true and was explored in Sullivan's next book on racketeers: The Snatch Racket, published in the UK as This Kidnapping Business in 1932—publisher John Lane perhaps feeling that the American slang term for kidnapping had not yet penetrated deeply enough into British culture.

Criminal slang was certainly gaining some momentum in Britain. In America, articles on criminal language and glosseries of the latest argot appeared widely in popular magazines Saturday Evening Post, American Mercury and Liberty, and in book form in such titles as A Vocabulary of Criminal Slang (1914?) by Lewis E. Jackson & C. R. Hellyer, Henry Leverage’s Flynn’s Dictionary of the Underworld (1925) and Underworld and Prison Slang (1933) by Noel Ersine. Jack Lait included an “underworld glossary” as an appendix to his three books Gangster Girl, Put on the Spot and The Big House, all published in 1930.

Here in the UK, Eruera Tooné, as Spindrift, privately published Yankee Slang in 1932, which included a glossary of criminal terms and many examples of how various terms were used, misused and misunderstood (e.g. "Discreet girls should avoid requesting any man to knock them up in the morning — awaken is much better.).

In his new book, Edward Dean Sullivan attacked the
Anyone with the slightest insight into the organized crime situation in America knows that bootleg millions gave the American underworld its nation-menacing bankroll. That money has been used in thwarting the law, corrupting elections, bribing the judiciary and buying opposition to crime in all its nuances. Booze funds have provided the sound support for two hundred rackets now in operation in the United States, and among them is kidnapping—the "snatch racket."
The book's publication in the UK was greeted with shock at the scale of a "racket" only brought to  wide attention less than twelve months earlier:
The kidnapping and inhuman murder of Colonel Lindbergh’s infant son deeply shocked a large proportion of the inhabitants of the civilised world. For apart from the international celebrity of the father and the tender age of the victim, it was rightly felt that of all crimes kidnapping is perhaps the meanest and most cruel. It is, therefore, with considerable disgust, and no little sympathy for the unfortunate inhabitants of America, that one learns from Mr. Sullivan that this abominable crime, known among its perpetrators as the “snatch rachet,” is by no means uncommon in the United States, two hundred and eighty-two cases being investigated in the course of one year, while, naturally, many more never come to the notice of the authorities. (The Yorkshire Post, 15 February 1933)
"An impression to be got from this book is that kidnapping has become a definite business in America," began another review (Aberdeen Journal, 7 March 1933). It is likely that, despite the title change, Sullivan popularised the term "snatch racket" in the UK; it was certainly picked up by reviewers who used the book to discuss the growth of the problem in the US. In the three years ending 1932, 2,500 cases were reported in the United States and there were likely many times that number unreported. The crime was seen as particularly vicious as the target was often the children of the wealthy and a high proportion were never returned, whether the ransom was paid or not.

Sullivan believed that there would be no improvement in the enforcement of this kind of crime while crime paid such astonishing dividends:
So long as organized politics has a grip on court machinery, and upon police organisation as well, there will be scant improvement in the crime situation. Especially is this true under Prohibition, where the tremendous financial needs of modern politics furnish an almost irresistible temptation to accept large contributions without prolonged questioning of the sources. To-day American gangsters are equipped, through booze and its associated rackets, with an annual income of more than 5,000,000,000 dollars. They will pay money for political influence quicker than for any other single item in the category of gangster necessities. And that is a perfectly square account of a vicious circle.
Sullivan went on to write a well-received biography of playwright Wilson Mizner and a book on labour racketeering, covering some of the same ground as Hostetter & Beesley and other titles that appeared in the early 1930s (e.g. Muscling In by Fred D. Pasley, Enemies of Industry by Ferank Dalton O'Sullivan and Labor Unions and the Public by Walter Chambers). In 1935 he was a columnist for the New York Post before heading for Hollywood, where he was engaged to write two scenarios for M-G-M at the time of his death.

He was survived by his wife, Margaret, an adopted son, Edward White, and his brother, Frank Sullivan.

PUBLICATIONS

Non-fiction
Rattling the Cup on Chicago Crime. New York, Vanguard Press, 1929; as Look at Chicago, London, Geoffrey Bles, 1930.
Sold Out!. New York, Vanguard Press, 1929.
Chicago Surrenders. New York, Vanguard Press, 1930; London, Geoffrey Bles, 1931.
I'll Tell My Big Brother. New York, Vanguard Press, 1930.
Benedict Arnold, Military Racketeer. New York, Vanguard Press, 1932.
The Snatch Racket. New York, Vanguard Press, 1932; as This Kidnapping Business, London, John Lane The Bodley Head, 1932.
Romeo Reverse (by Alum Hardly), illus. Adolf Dehn. New York, Vanguard Press, 1934.
The Fabulous Wilson Mizner. New York, The Henkle Company, 1935.
This Labor Union Racket. New York, Hillman-Curl Inc., 1936.

* Hostetter, incidentally, probably coined the term racketeer. According to Andrew Cohen, "In 1927, Employers' Association  secretary Gordon L. Hostetter conceived the term to direct growing public concern about bootleggers like Al Capone against the officials who enforced prices and wages in trades like construction, laundry and cosher foods."

Saturday, October 10, 2015

Hal Andrews

As my Friday night reading has been the delightful X Marks the Spot, I thought I'd see what I could find out about its author.

X Marks the Spot was an anonymously published, 64-page magazine telling the story, in both gory detail and gory pictures, of Chicago's "beer wars". As the introduction says:
It begins with the murder of "Diamond Jim" Colosimo at the dawn of prohibition and it continues on up through the years, death by death, until the killers of Gangland finally graduated from murder to massacre on St Valentine's day, 1929, and more recently hit one below the belt by assassinating Alfred "Jake" Lingle, a newspaper reporter. With the country-wide publication of the massacre photograph, public indifference to Gangland's crimes came to an abrupt end. The work of destroying organized crime in Chicago began determinedly, coldly, sternly. To use a phrase borrowed from Gangland, the exponents of the "gat" and the machine gun are today being "pushed around" by Decency and Integrity, and they must surely fall into the abyss of oblivion.
This remarkable publication was the work of Hal Andrews, who later advertised that copies of the book could be purchased direct from the author for 25 cents and giving his address as 5322 Lakewood Avenue, Chicago. In 1933, Andrews also published a second at-cost publication (10 cents) entitled Now I'll Tell About It (Chicago, Maltese Publications, 1933) in which he revealed his identity and answered "every question you have asked yourself" about his earlier book.

Andrews was born Harold Andrews on 20 May 1896 in Moulton, Iowa, the son of Lemuel Worth Andrews (1870-1941), a bridge constructor, and his wife Della (nee Kinnamon, 1874-1939). Harold had three younger siblings: Claude Richard Andrews (1898- ), Victor E. Andrews (1898- ) and Raymond M. Andrews (1913-1985). The family moved north to Moberly where Lemuel worked as a conductor on the railroad, and then to Des Moines, shortly before the First World War, where Harold was a student at college.

Andrews was a reporter in Chicago in the 1920s and had worked for the City News Bureau and United Press before joining the Herald-Examiner.

The origins of X Marks the Spot were the bloodless, and often bodyless, photographs published in newspapers too squeamish to print the gory images that came to them during this period of gangland killings. To protect the sensitivities of readers, photographers would take pictures of where a body had been, with an X marking the position of the body, as in the above photograph of the grave of Theodore Anton, owner of the hotel where Al Capone made his headquarters.

When it came to the St Valentine's Day Massacre in 1929, editors were faced with some of the most startling photographs of all. Russell Hamm was one of the first photographers on the scene and when his picture were rushed into the newsroom, the editors stood, awestruck and stunned. The picture was just too gruesome for a family newspaper like the Daily News and was put aside.

John "Hack" Miller of the Chicago American and Mike Fish of the Chicago Tribune were also on the scene, standing on the roof of a Ford sedan, taking pictures, and other photographers were on the scene. But, like the Daily News, most newspapers carried banner headlines and, if photos appeared, they were pictures of the victims or the surroundings.

While the Herald-Examiner ran a famous photo of the murder scene with the bodies in view, a retoucher had carefully removed all of the blood from the picture.

What X Marked the Spot promised was unretouched photographs.
The publication of death pictures in newspapers is becoming more common every day. Editors have at last realized the terrific force a death picture can exert, particularly in driving home the lesson that the underworld has present day civilization in its grip. The ultimate good of the death picture far outweighs the shock that it may have on a certain delicate emotional segment of the newspaper readers. A famous New York newspaper editor commenting in Editor & Publisher recently on the publication of the Valentine massacre picture, declared that "it was a more powerful example of the defiance of law and order by the underworld than could be drawn by twenty-five columns of editorials.

Andrews is said to have gone to a number of newspapers that he knew to obtain uncensored photographs.
X Marks the Spot publishes those pictures for the first time. The body of the gangster which was blotted out and an X substituted is restored as the camera saw it.You have read the story in countless volumes, now, for the first time you can see it. You will see Chicago crime "put on the spot."
Although Andrews hoped that his uncensored content would shock the placid population into action to rid Chicago of gangsters, the book was was suppressed in some areas by those who found its content morally objectionable. In New York, John Sumner, the secretary of the Suppression of Vice and Crime, threatened to take action against its distributors if it remained in circulation; in Chicago, gangsters visited newsstands, removing copies and intimidating book sellers.

In response, Andrews penned "Gangsters Grip Chicago!" for Real Detective (September 1932) and followed up with a revelatory article the following month, "Author of 'X Marks the Spot' Tells All". and offered copies of his $1.00 book by post to readers of the magazine for 25 cents.

In the late 1930s, Hal Andrews moved in Gary, Lake Co., Indiana, and became the sub-editor, and later news editor, of the Gary Post-Tribune. He remained with the paper until the late 1950s when he entered the Veterans hospital at Downey. He remained there for four years before his death, aged 64, on 14 March 1961. He was survived by his wife, Betty, four daughters (Janice, Della, Susan, Carol) a son (Harold Jr.) and two brothers.

Friday, October 09, 2015

Comic Cuts - 9 October 2015

I'm writing this Friday morning, so it's going to be quick. I would normally write the Comic Cuts column on a Thursday, but I was battling for time yesterday as we're in the final phase of the Hotel Business cycle, with all the last-minute material coming in thick and fast and numerous last minute changes needing to be made where I have to replace some text with advertorial material.

To give you an example: one spread this month contains one and three quarter pages plus a quarter page advert; because our boss likes a busy page, we have maybe seven, eight or nine featurettes on that spread. All were completed and sent into our design studios. But everything went on hold as an advertiser paying for a large ad. asked for half a page of editorial space for a feature – a piece of PR puffery that we call an advertorial. Unfortunately, that's what pays our wages, so we're now waiting for them to send in text and pictures that we can shape into a half-page. At least two of the shorter pieces already written will have to be scrapped. And because each section of the magazine will have a new theme next issue, those scrapped items won't fit, so I can't just hold them over and save some writing time next month.

It's my job to write enough material to fill all that space on the assumption that it will be needed but knowing in my heart that a lot will have to be dropped. We've dropped six featurettes so far and this latest sale will add two more to that figure... and we haven't sorted out our two biggest sections yet, which cover about a third of the magazine.

But that wasn't wholly the reason why I didn't get to write this column yesterday. I actually spent most of the evening writing for the Caught in the Act project. This opens with two threads: gangsters and the white slave trade – in fictional form, of course – and the book will explore how the two eventually fueled the post-war paperback boom. I'm researching the gangster side at the moment and was writing about real-life Chicago racketeers and how British newspapers reported on their activities.

That's what I'm doing for fun! Oh, and watching the new Danger Mouse. And The Martian. Both brilliant.

Random scans. It's not often that I stumble across many pre-decimal paperbacks in town, but I managed to find three on my trek around Colchester's charity shops last week. A bit of a mixed bag, but nice to see them... and a Chris Foss thriller cover that I didn't have, which is our header illustration this week. A pretty good haul and quite amazing for Colchester, which is usually a desert as far as older paperbacks is concerned.


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