Charlie Huston: Already Dead

I'm still alive and kickin', though you wouldn't realize it by looking at this blog. I've been on holiday which has also meant not blogging. We've travelled quite a bit and been doing some renovations at our new summer cottage (I'll probably post about that something soon).

But here's something that's more in the vein of Pulpetti. Someone might remember I wasn't thrilled about Charlie Huston's vampire private eye novel Already Dead back in 2007, but I've now read the book in Finnish translation and I'm happy to say I liked it more this time. It's a fast-moving, cynical and very violent book about Joe Pitt, a guy who went vampire when being given a blow-job in a New York punk club in the late seventies and who now works as a private eye between the world of vampires and the real human beings. Highly recommended. And this also proves that translations are sometimes a good thing, even though books are usually best read in their original language. Not this time, for some reason or another.

Some e-books I read during the trip: Allan Guthrie, Peter Brandvold, Paul Levine, Gerard Brennan, J. David Osborne

That's a long subject line, isn't it?

We were on a smallish trip earlier this week: we went to Denmark, where we've never been. We visited Legoland, the Louisiana Museum of Modern Art (highly, highly recommendable) and the vintage Tivoli entertainment park in the centre of Copenhagen. It was a fun trip, for most part, but I'm not going to write about it. Instead, in the spirit of this blog, I'll say something about the books I read during the trip. I had nothing with me but my Kindle. I download only free e-books, since I don't have a credit card with which I could buy e-books, so I'm dependent on what comes free. Even with this approach, I've managed to accumulate a pretty good selection of new noir and hardboiled writing, with some westerns and horror thrown in. Mentioned should also be some classic noir stuff that's coming from publishers like Prologue Books.

Okay, to the books. Peter Brandvold's better known as a western writer, but I've never read any of his books in that genre, but they seem quite good. I read his short novel Paradox Falls that I think is mislabelled as horror. It's more like a suspense thriller, with a possible serial killer hunting some hikers in the Colorado mountains. The book reads pretty fast, but the ending is a bit abrupt. There was also some interesting stuff on being a writer that seemed a bit autobiographic, as the main character, a sympathetic young man yearning for his early love affair, makes his living writing sex westerns. Paradox Falls could've been published as a cheap paperback in the early eighties, and I mean this as a good thing.

Allan Guthrie's Kill Clock was even a shorter book, a novella-length tale of Guthrie's occurring character, Pearce. Guthrie tells his brutal tale with short sentences, but also manages to make Pearce a sympathetic character in all his bruteness and tendency to sudden bursts of violence. Kill Clock also has a good plot for a novella. Recommended quite highly.

Paul Levine's Last Chance Lassiter is the first Jake Lassiter story I've ever read, as I'm not very keen on courtroom thrillers. But this one was so funny and entertaining I'd be willing to try more of Levine's work. Very fluent writing, very smooth plotting, some quite funny wisecracking.

J. David Osborne runs Broken River Books that's a very interesting crime and horror fiction outfit specializing in edgy and bizarre neo-noir. Osborne's own short story collection Our Blood In Its Own Circuit is full with, well, edgy and bizarre stuff that's not easily labelled. I read the first three stories on our flight back, and two of them were very strong: the titular story is about Mexican cops who bathe in the blood of chickens, and the western story "Amends Due, West of Glorieta" is full of shocking violence and characters straight out of a Cormac McCarthy novel. Check out this free Broken River Books sampler!

I also started Gerard Brennan's novella The Point, a brutally realistic story about two brothers whose life goes to hell when they move to a small town on the seaside and the other one starts dealing stolen cars. The plot could be more original, but Brennan's clipped style makes it interesting. I'm only halfway in the middle, so there might be some surprises coming.

Me and my new book

Pulpografia Britannica just came from the printers! Here's me with a happy smile and my first book, Pulpografia that came out in 2000 and deals primarily with American crime pulpsters and paperbackers. You can see it's a worn copy. Hopefully this new book comes just as handy.

Patricia Abbott's short story collection – in Finnish!

Just when I finished my book on British crime paperbackers, I was notified that another book was ready to be picked from the printers. It's Patricia Abbott's Merenneidot (meaning "Mermaids") short story collection I edited and published with a small print run. The book collects six of Abbott's insightful, clever, cruel and empathetic crime stories, most of them are in the flash fiction length, but the longest story in the book is about ten pages long.

The stories are: "Mermaids", "My Hero", "How to Launder a Shirt", "Johnny Jinx", "Hole in the Wall" and "Initiation". Most of these were originally published in the web, but some were print publications. Most of the stories came out in Finnish in my magazines Isku and Ässä, but "Mermaids" and "How to Launder a Shirt" were translated for this book and were never before published in Finnish. "Johnny Jinx" and "Hole in the Wall" were translated by my friend Lotta Sonninen and I'm sure their translations are better than my attempts!

The cover is by Aapo Kukko as are my usual mini books. See the Ray Banks book here and the Ed Gorman book here. (Seems like I haven't blogged about the Gorman book, but it's a translation of his "Scream Queen".)

Most of the copies I'm selling are going to the libraries here in Finland, but this is also available through me for a measly three euros!

Pulpografia Britannica to the printers

Just sent my Pulpografia Britannica to the printers. Here's the cover by Ville Manninen who did spectacular job.

It was a 15-year work. This at least should prove I'm no ADHD person, even though the idea crosses my mind every once in awhile.

Here's the list of authors tackled in the book:

Ray Alan
Eric Ambler
W. Howard Baker
John Boland
David Brierley
Jonathan Burke
Peter Cave
Johnny Cello
Peter Chambers
Philip Chambers
Leslie Charteris
James Hadley Chase
Peter Cheyney
Hugh Clevely
Basil Copper
John Creasey
Paul Denver
Adam Diment
Rex Dolphin
John Drummond
F. Dubrez Fawcett
P. A. Foxall
Stephen Frances
Pete Garroway
Tudor Gates
John S. Glasby
Berkeley Gray
Sean Gregory
Leonard Gribble
Angus Hall
Roger Hamilton
Rex Hardinge
Edwin Harrison
Jack Higgins
Harry Hobson
Hartley Howard
John Hunter
Warwick Jardine
Hank Janson (the pseudonymous efforts of the unknown authors)
George Joseph
Harold Kelly
Arthur Kent
Bill Knox
H. L. Lawrence
Brian McDermott
Arthur MacLean
Wilfred McNeilly
James Moffatt
Stanley Morgan
James Munro
Victor Norwood
Flann O'Brien
Peter O'Donnell
D. J. Olivy
Anthony Parsons
Bryan Peters
John T. Phillifent
Hugh C. Rae
Desmond Reid
Colin Robertson
Angus Ross
Kenneth Royce
Jimmy Sangster
Julian Savarin
Frederick E. Smith
Gordon Sowman
James Stagg
Jack Trevor Story
Rosamond Mary Story
Frank Struan
Martin Thomas
E. C. Tubb
Walter Tyrer
Gerald Verner
John Wainwright
Vernon Warren
Ronald Wills

Some problematic Sexton Blakes

I've been posting some bibliographic puzzles here on Pulpetti for some time now. I'm finally getting my book on British crime paperbackers to print (hopefully at the end of the next week), but there are still some things I'd like to be more sure of. I have several Sexton Blakes translated in Finnish in the early sixties for which I haven't been able to find the original publishing info, as I don't have an access to original English stories.

Here's a lowdown, with the Finnish titles translated literally back to English (but do note that the English titles don't match any known Sexton Blake stories):

Edwin Harrison: "The Green Spider" (published in 1963): someone is coming to meet Sexton Blake at his office, but is hit by a car just in front of Blake's building and gets killed.
Edwin Harrison: "Spanish Blood" (1963): a matador is poisoned by syanide.
Anonymous (only Sexton Blake published in Finnish without the author's name): "The Disappeared Author" (1963): the promising writer of a great book gets lost.
Desmond Reid (a house name): "The Avenger from Dartmoor" (1962): the authorities let a a prisoner escape so that he can revenge and take out his former allies who let him down
Desmond Reid: "The Woman Is Dangerous" (1962): takes place in fictional state of Costa Barria, features also Huxton Rymer, but is still clearly from the post-WWII era
Desmond Reid: "The Trumper Killer": a jazz player makes extra money killing people
Desmond Reid: "The Angel of Death": an early story on animal rights movement, some young people are fleeing the circus animals
Jack Trevor Story: "Gold Means Death": Splash Kirby looks into the world of Italian immigrants and is kidnapped and taken to Italy
Jack Trevor Story: "Death Before One's Eyes": now, this is interesting: Blake is a first person narrator (the only time in the history of Sexton Blake?) and is approached by a former lover who asks Blake look into a mystery
Jack Trevor Story: "Love Under the Gallows": Sexton Blake vs. the teenage gangs

And also, is Jack Trevor Story's Invitation to Murder about someone killing models?

Kenneth Royce

Of all the British pulpsters and paperbackers I've been covering in my forth-coming book, there have been only a few writers whose work I've really been fond of. I don't know why this is, but it's something I've been noticing for the past dozen years: I like American stuff more than British, and this is the case even with films and music. Give me The Sonics anytime over The Rolling Stones or The Dead Kennedys over The Sex Pistols!

But there are indeed some British crime writers whose work I really like. Kenneth Royce is one of them. He writes in clear prose that keeps the story moving, he creates interesting characters with just a few lines, they are likable even though they are not heroes, his plots are unpredictable and original. Too bad he's not very well known these days. I'm not sure if he's known at all. He does have a Wikipedia page, though. He's had three Finnish translations, all in pulpy paperbacks and with not interesting covers (see below).

Of the two translations, the first two have Royce's serial character, Spider Scott, as the hero. He's a former master burglar, who's gained his nick name with his skills in climbing. He climbs any wall. In the beginning of the first Spider Scott book, The XYY Man (1970; Ansa ilman muuta in Finnish; the original name comes from the "fact" that most of the male criminals have an extra chromosome). Scott is lured by some secret organization to break and entry the Chinese embassy or his brother's career in the police force is threatened. Spider Scott doesn't want that, so he complies - and has to kill the Chinese ambassador in order to stay alive. And now he has to flee everyone. This is a very intriguing thriller, to the last page.

In the second Spider book, The Miniatures Frame (1972; Tie murhaan in Finnish), the plot is even more original. Spider is taken into a committee that's supposed to make the prisons better places for the prisoners. The head of the committee is a rich asshole who collects art and antique. Spider is lured by the man's teenage daughter into a secret chamber the man has in his house and Spider spots two extremely valuable miniature paintings he's stolen ten years ago! The man threatens Spider with the jail, but Spider fights back. Spider Scott was developed into a TV series, but I've never seen it.

The third translation, The Stalin Account (1983; Tappavat varjot in Finnish), is an interesting spy novel the plot of which starts in the 1920s and the attempt of the Soviet bolsheviks to turn Brits into communists and then spies for the Soviet Union. What follows is a tragic love story between a Soviet spy and a young British girl. The thing comes again alive in the early eighties when the woman of the love story dies almost entirely alone, nurtured only by her nephew. When the elderly woman dies, her diary also goes missing. It all ties around the story of Stalin's son, Jacob. It's a very interesting spy novel with believable characters and believable history.

I haven't read any other books by Royce, but I come across them, I'll be sure to take a look. George Kelley says in his entry for Royce in The St. James Twentieth Century Crime and Mystery Writers that some of Royce's best books are The President Is Dead (1988), Fall-Out (1989) and 10,000 Days (1981). The last one should prove interesting as it's about the ending of oil.

Everybody Lies and other crime stories

Apart from finishing my book on British pulpsters and paperbackers, I've also been compiling and editing the book that will hopefully come out later this year. It's a collection of the new crime stories that came out mainly in Isku, but also in Ässä and Seikkailukertomuksia (Adventure Stories), all mags I published in 2003-2011. Here's the lowdown:

Ed Gorman: Tauko (Layover)
Allan Guthrie: Rakkain terveisin Rex (Love, Rex)
Patrick Shawn Bagley: Vielä yksi sotku (One More Mess)
Bill Crider: Ilta Carlin kanssa (Evening Out with Carl)
Lawrence Schimel: Pudotus (Falling)
David Terrenoire: Tulipalo (The Fire)
Harry Shannon: Langanpätkiä (Loose Ends)
James Reasoner: Kaikki valehtelevat (Everybody Lies)
J. A. Konrath: Ihmisen paras ystävä (Whelp Wanted)
Duane Swierczynski: Munakello (Eggtimer)
Kevin Wignall: Kuolema (A Death)
Anthony Neil Smith: Clive tunnustaa (Clive Confesses)
Vicki Hendricks: West End (West End)
Keith Rawson: Veri, sirpaleet ja kaikki muu (The Blood, the Shattered Glass and All the Rest)
Pat Lambe: Lemurian portto (The Whore of Lemuria)
J. D. Rhoades: Satanen (The Hundred)
Jason Starr: Viimeiseksi valittu (The Last Pick)
Pearce Hansen: Halvaantunut tappajasimpanssi (Paraplegic Killer Chimp)
Sandra Ruttan: Ihana tapa kuolla (To Die For)
Ed Lynskey: Isoveli (Think Pink)
Michael Wiecek: Lahja veljeltä (A Brother's Gift)
Molly Brown: Tähti (Star)
Sandra Scoppettone: Lihamureke (Meatloaf)
Patricia Abbott: Aukko seinässä (Hole in the Wall)
Christa Faust: Anna tulla (Hit Me)

The book will be titled according to James Reasoner's story. It will also have a short preface by Tapani Bagge and a longer preface by me. There's no cover yet. I think that's a mighty good table of contents, don't you?

Michael AKA Mike Hervey, pt. 2

I promised to say something about short story writer Mike Hervey's short stories. I covered what I know of his life in this post. It's not much and lots is mere speculation.

Same goes for his short stories. I can't say I read them carefully, many I only eyed lazily. Lots were translated in Finnish and published in mags in the late fourties and the fifties. As you remember, he had a magazine to his own name in Australia, called The Mike Hervey Detective Monthly Magazine. The Finnish magazine called Salapoliisilukemisto (Detective Digest; see photo) seems to have taken its stories from that magazine, since it had issues that contained only stories by Hervey! And many were straight from the Australian magazine.

Hervey was as prolific as hell, writing over 3000 short stories in a span of ten years. That must show in the quality of his stories. Many are pretty simple, focusing on the twist at the end, as in the story "Death of a Widow" (1953). There's not much description of the scenery, nor is there much character development. Most of the characters are what's usually called stock characters: detective, police officer, career criminal, deceitful babe, disappointed wife, etc. In "Nick to the Rescue" (1953) that's almost of a flash fiction length we get both the career criminal and the deceitful babe. There are some variations, though. "Death on Wheels" (1953) is about a race driver who's forced to win in a race. If he loses, he'll be killed.

Some of the stories are science fictional, for example in the story called "In the Year 2500" (I don't know the original title, and I don't even know what really takes place in the story). "You Can't Deceit Faith" (the original title missing, probably from 1953) is about foreseeing the future and clairvoyance.

I realize this isn't much, but it's a start! There's not much info on Mike Hervey in the web.

Michael AKA Mike Hervey, pt. I

My forth-coming book on British paperbackers doesn't really cover the writers who specialized in short stories. There are two reasons for this: there were only few translations from those who wrote only short stories, and then again I haven't had enough resources to check the magazines that could've carried British writers' stories. The American pulpsters were covered in great length by mainly a one magazine, the Lahti-based Seikkailujen Maailma (The World of Adventures; see this post in English by me), but none were specialized in British pulps.

I do have sketchy entries for some writers from whom I found only short stories. One of them is Michael AKA Mike Hervey. Not many have heard of him during the past 30 or 40 years. He had lots of stories and serials translated in Finnish pulp and other fictionmags in the fifties. The magazine called Salapoliisilukemisto (The Detective Digest or some such) had issues that had only stories by Hervey in them!

Now, who was Mike Hervey? He seems a pretty enigmatic character in his own right. He wrote lots of cheap paperbacks for mushroom publishers like Forsyte and Mitre in the 1940s and 1950s. Many of his books are one-act plays or skimpy short story collections. The books have hardboiled titles like Dumb Witness or No Excuse for Murder. (The book in the picture is from 1946, hardback from Alliance, yet another publisher I've never heard of.) This guy wrote a lot.

But not for a great many years. Seems like his first book (Save Your Pity) came out in 1943 and his last one Crime a la Carte in 1953. His career lasted only ten years, yet he's said to have written 3,500 short stories.

There's something fishy about Mike Hervey. The Science Fiction and Fantasy Encyclopedia tells us more. He was born in 1915, but he told everyone he was born in 1920. His birth name was apparently Mark Hockman, but he used the name Mark Hoffman. Then he changed it into Michael Hervey. And then, in the early fifties, he moved to Australia. Therein he edited a magazine called The Mike Hervey Detective Monthly Magazine that a publisher called Transport put out. The magazine seems to have contained only stories by Hervey himself. (The Finnish digest I mentioned earlier probably picked its stories from this magazine, and only hell knows how the stories found their way into Finland.) And then it stopped in 1953. (The years are uncertain.) The SFF encyclopedia tells us Hervey died in 1979. What did he do for the last 26 years of his life?

And what was with the name changes and all? Was Hervey a swindler? Changed names to deceive those whom he owed money to? Or was he just a guy down on his luck who couldn't find any reasonable way to make his living? Anyone know anything about Mike Hervey? Did he change names again living in Australia and write something entirely else?

How are his stories then? I'll get back to them in a later post, now I'm slightly drunk and getting soon to get to bed.

Philip Chambers and Sexton Blake

Philip Chambers is a writer almost next nothing is known of. He was born in 1936, is possibly dead by now, wrote six Sexton Blake stories in the early sixties and nothing else. I've skimmed through his Blake story Bullets to Bagdad (1960) in which a secret organization is planning to take over the government in Iraq and take their oil supplies. In the story Blake's boss is and old man called Craille. He's the leader of the British counter-intelligence organization, as secret as the criminal organization in the book.

Here are some of Chambers's Sexton Blake covers. Pretty good ones, too, but I don't know the illustrator. There's a signature in Keep It Secret!, it seems it says "S. Barany".

Sean Gregory's serial hero Mack Regan

I'm sure not many of you have heard of Sean Gregory, not even by his real name, Harry Hossent. He started out in the early 1950s writing cheap crime hardbacks for Hamilton under the house name Jeff Bogar. He went on to write more thrillers in the sixties under his real name. He seems to have dropped out of the publishing business in the early seventies.

As by Sean Gregory he wrote some short paperbacks for the Tit-Bits Books paperback series in the early 1950s. (At least I think they were paperbacks, but I'm not 100 % certain. Hope someone can confirm this. I believe the books accompanied the issues of the Tit-Bits magazine.) His stories in that series were for some reason or another translated in Finnish in a paperback series called Max Strong (who was an Australian series character, but that's another story altogether). I've browsed through the three stories, here's a lowdown.

All the stories came out originally in 1954. The hero, appearing in all three stories, is one Mack (short for Mackenzie) Regan. He's a Hollywood PR agent, but in what I believe was the first story in the series, Murder Bangs a Big Drum, he's still trying make his living in Ohio. He gets a phone call from a Hollywood producer, who asks Regan to come down to Hollywood to prevent a young actor's name appearing in headlines. Reason: he's disappeared. It all ties down to a hazy union job. In Murder Makes the Corpse Regan is asked to write a book on an undertaker firm. He agrees, but finds out soon there's something fishy about the outfit. Murder Is Too Permanent finds Regan working for a gangster called Ricky Vescino. He wants Regan to make way for his beautiful wife and escort her into high society, but at the same time his own life is being threatened as someone wants to blow up his car.

The stories are old-fashioned private eye fun, nothing more, but nothing less, though. As I didn't really read the stories, I can't say how well they hold up, but if you come across them, I'll advise to take a look. Seems, though, that the Tit-Bits Books are hard to come by.

One more thing: Harry Hossent-Sean Gregory came up with some strange names for his stories. This seems a staple in this kind of private eye stuff. There are Bats Moloney, Lex Hupner, Alvar Domonici, Rafe Engels, Bull Gregow and Jed Yurfy, and there's also a heavy called Griff, which is a nod to a house name of British mushroom jungle publishers.

Photos accompanying the post are the covers of the Finnish editions of Sean Gregory's stories.

Frank Struan's other stories from Tit-Bits Books

Remember I wrote about Frank Struan's private eye booklet Murder's So Unpleasant? It was published in the Tit-Bits Books paperback series in 1954 and translated in Finnish some ten years later. The story features one Johnny July, and I got to thinking he might warrant an entry in the Thrilling Detective site, but I've now browsed through (note: not read!) Frank Struan's other translated titles and none have Johnny July in the lead. Of course there's a possibility that Struan has more stories that were not translated in Finnish.

Struan has another series character, though. His stories Tunnel of Nightmare, Ruthless Enemy and Fall Guy, all from Tit-Bits Books and from 1954, are spy stories about a British counter-spy called Fabian and his bosses called Delmer and Johnstone. The best of the bunch is probably Tunnel of Nightmare (Painajaistunneli, see the photo) in the beginning of which Fabian wakes up from the seedy side streets of the London port and seems to have lost his memory. Ruthless Enemy is about an East-European communist leader whom other commies want to kill. Fabian is set to protect him. I didn't really make any notes on Fall Guy, so I can't say anything about that.

There was still another piece by Struan in Finnish. The story The Girl from the Sea (yet another from 1954)
is about, well, a girl from the sea. A guy is swimming by the sea and notices a young woman is trying to escape from a ship that's anchored some hundred meters from the shore. It all has to do with the English nuclear weapons.

I'm a private eye man myself, so these spy stories didn't interest me as much. The stories seem competent enough, but they are no hidden gems.

I'm finally getting my Pulpografia Britannica - book on British crime pulpsters and paperbackers - together. It should be out in June. Don't know for sure yet, still got tons to do. I'll post some stuff on the writers therein in the blog for some days now.

John Wainwright: four crime novels

As I mentioned earlier, I read four novels by British writer John Wainwright to be mentioned in my forth-coming book on British crime paperbackers. I've been at it for over ten years and I thought it would finally come out next Summer, but we'll have to see about that, as I still have loads of work to do. But now John Wainwright has finally been done with.

Wainwright is best known - if known at all today - for his police procedurals. He wrote some dozens of them saying he got his inspiration from Ed McBain and his 87th Precinct series and that clearly shows. The settings are realistic and Wainwright shows some critical insight into the society he writes about. There are lots of characters, all colourful. The police are a mixed bunch, some of them are almost crooks themselves, taking law into their own hands, some of them just look on from the side and realize there's no use getting mixed with their colleagues' doings. The actual crooks are very much crooks: sleazy low-life scum. This is one of the weakest things in Wainwright's police novels. He shows real contempt when he writes about the lower class people and their inhabitats. In Wainwright's novels there's also lots of dialogue. One can imagine being in a police station amidst all the nervous talk and shouting.

I read The Big Tickle (1969; Kurja päivä kuolla in Finnish) and Talent for Murder (1967; Huhtikuun murhat in Finnish) and liked the latter more, even though the former is more clearly set in the reality of the streets. The novel suffers from bad Finnish translation though.

Wainwright also wrote some middle-class tragedies. I read two of them, The Distaff Factor (1982; Tuomion jälkeen in Finnish) and Cul-de-sac (1984; Umpikuja in Finnish). Georges Simenon spoke highly of the latter, and it is indeed the better of the two in its depiction of a sad marriage that ends in the death of the wife. It's already declared an accident, when an eye-witness comes forward saying it was a murder, done by the woman's husband. Cul-de-sac is a dense book with a pleasing climax. I hope I'm not giving anything away saying Wainwright uses the same technique that made Gillian Flynn famous with her Gone Girl.

The Distaff Factor starts with a promising idea: the husband of a middle-class woman is declared guilty of maiming and killing three prostitutes. This one also has a twist in the middle and yet another in the end, but I wasn't entirely satisfied. The book drags somewhat in the middle and the end climax is both misogynistic and somewhat implausible. Yet it also shows Wainwright could really write tragedy.

Wainwright wasn't a paperbacker in his native land, but his books came out in paperback here in Finland, that's why I'm including him in my book.

Finnish film noir: some worthy specimens

The Warsaw Song, Chris Paischeff in the middle

Some weeks (or months?) ago I wrote a review of John Grant's A Comprehensive Encyclopedia of Film Noir and listed some Finnish specimens of film noir. I mentioned I'd be seeing some of them on big screen, since there was a festival of Finnish cinema here in Turku where I live and one of the themes of the festival was - ta-ta! - Finnish film noir. Here's a lowdown of the films I managed to see.

Varsovan laulu (The Warsaw Song, 1953, director: Matti Kassila): hardboiled and cynical tale of two booze smugglers, who struggle with love and lust. Very noirish with a downbeat ending and some quite seedy love triangle in the middle of the film. Chris Paischeff makes a very nice femme fatale in the lead. Suffers from the director's indecisiveness: there are two plotlines that don't mix easily. Suffers also from laughably props in the scenes set overseas.

Pikajuna pohjoiseen (Express to North, 1947, director: Roland af Hällström): I'm not sure whether this really qualifies as a film noir, but it has a very downbeat ending. The film seams almost effortlessly into a tragedy after being a thriller with comic overtones. Possibly one of the best Finnish feature films ever, reminiscent of English thrillers of the thirties and especially French films of the thirties and fourties. Set almost entirely on a train. Suffers from overacting at various points.

Silmät hämärässä (Eyes in the Mist, 1952, director: Veikko Itkonen): a very peculiar film about a writer who's down on his luck and drifts into a hotel room seeing four desperate-looking men in a room across the street. The writer imagines what has brought the men together. Their fictional story is told in a flashback (that has some flashbacks seamed in it), and in the end it's revealed the men's story forms the writer's new short story. Quite intricate with some good scenes throughout, but a bit contrived and not very plausible, but still possibly the most noir of the Finnish film noirs.

Joel Rinne gets mad in The Price for One Night

Yhden yön hinta (The Price for One Night, 1952, director: Edvin Laine): an attempt to bring the neorealistic formula of the films such as The Naked City to Finland. Succeeds at times, but is also unintentionally funny, especially in the scenes with criminals. On the other hand, Joel Rinne as the criminal mastermind gets into a Dennis Hopper craze as he twists his lady friend's head violently back and shouts: "Kiss Me! Kiss Me!" The film is fast-moving, though, and never really boring.

Olemme kaikki syyllisiä (We Are All Guilty, 1954, director: Aarne Tarkas): director-writer Aarne Tarkas was very interested in American film and film noir (and in American popular culture altogether, he picked his last name from ERB's Mars books!) and that shows in his comedies and crime films. This is a serious attempt to depict a doomed love story between a young man who suffers from mania and fits of rage and an innocent young woman who loves him first, but betrays him in the end. Quite believable and suspenseful to the end. I believe Tarkas himself suffered from ADHD that was left unattended, and I got to thinking this film might be something of a self portrait.

Tulio's The Criminal Woman

The film noirs I didn't manage to see:

Kultainen kynttilänjalka (The Golden Candelabra, 1946, director: Edvin Laine): crime film with gothic and comedy overtones. Never seen it, so can't comment. From what I've heard veers into camp.

Rikollinen nainen (The Criminal Woman, 1952, director: Teuvo Tulio): I've seen this earlier, a story of a woman who's driven mad by a jealous and abusive husband. I've written about Tulio earlier here.

These are of course not all the film noirs made in the Finnish studio system, I'm sure there's at least a dozen more. And of course there are some fringe examples, crime films that have lots of comic element in them, spy films made in the appropriate era, psychological thrillers that are devoid of the noir feel, pessimistic domestic dramas with downbeat endings etc.

I'm sure some of the films I mentioned above could be shown at a noir festival like, say, Noir City that has had British and Spanish film noirs during the past years. Paging Eddie Muller!

See also my posts on Finnish western films, part one here and part two here. And since this probably qualifies as an Overlooked Film post, go to Todd Mason's blog here to check the other overlooked films out!

Rapture, The Sniper, John Wainwright et al.

In the midst of life I find my hands full with work. So, here's only a quick update:

Michael Tolkin: Rapture: challenging film about religious hystery, seems quite underrated and somewhat ahead of its time ****
Edward Dmytryk: The Sniper: also ahead of its time in its depiction of a sexually frustrated serial killer, who kills young women with his rifle, but slightly muddled by some naïvety and too many policemen on screen! ***½
Robert Altman: McCabe and Mrs. Miller: has yet to be seen properly on big screen, but still convincing in its depiction of a frontier town, probably one of the very few really realistic westerns there are ****

I've also been reading - amidst the Finnish war stuff and some Tolkien (work-related both) - police and other crime novels by British John Wainwright, whose books are quite good, despite Wainwright's tendency to overwrite his rants about the slums and the people therein. Will get back to them later on.

Tuesday's Overlooked Film: Private Hell 36

Don Siegel was once one of the Hollywood's best paid directors, but his star seems to be fading. Does anyone anymore remember any other film by him than Dirty Harry? Yet he directed some thirty films, some very good (Charley Varrick, Hell Is for Heroes, The Killers, Flaming Star, The Beguiled, The Shootist and others), some quite good, all quite capable. 

Private Hell 36 (1954) is one of his lesser-known films, yet it's a very capable, at times a very good film noir with cynical characters and a downbeat ending. It was produced by Ida Lupino's and Collier Young's indie outfit called Filmakers (no Filmmakers!) and Siegel was brought in at a late date. Collier Young scripted the film originally for his wife, Lupino, but Lupino had already divorced Young and married Howard Duff, who plays the other lead in the film. The other lead is Steve Cochran, who's very good at playing a sleazy cop who wants to get some extra money and start all over with Lupino with whom he's fallen in love. 

Some of the scenes last too long (something that mars also Siegel's The Killers), but all in all this is a pretty effective low-key drama. I'd hope there was more action, as Siegel really knows how to edit fight and chase scenes. I'm not complaining, though. There's also some naivety in the outcome, especially Howard Duff gets out a bit too nicely. 

Comes highly recommended by me, even though this is no means perfect. 

I saw the film at the Finnish Film Archive's screening. Before the film, the film critic Tapani Maskula offered a half-hour lecture on how he met Siegel in Finland in the late seventies (you know, Telefon was filmed partly in Finland) and discussed Siegel's fifties' films. Siegel told for example that while filming Private Hell 36 the lead actors were often suffering from hangover. There's a scene with Ida Lupino in which she's sitting on a bumper of a truck. Lupino had said to Siegel that he'd better shoot the scene quick, since she's about to throw up. And you can see it in the scene. It works miracles. Lupino has never looked so vulnerable, tired, bored and broken. 

More Overlooked Films here.

Bibliographic puzzle: Ronald Wills/Hans Vogel: What Comes Next?

I've dealt in my research with some bibliographic problems before, but this one is a real puzzle. I don't even know where to start.

Okay, there's a paperback published in Finnish in 1955 called Hän ei tullut kotiin. It translates back as "He Never Came Home" or some such. It's a private eye novel about kidnapping of rich kids. Now, there's no book under this title (or actually there almost is, but it's not this one). The Finnish translation is credited as by Ronald Wills. There really was a writer called Ronald Wills. His real name was Ronald Wills Thomas. He lived from 1910 to 1969 (or possibly 1955) and wrote crime novels starting from 1950, ending in the early sixties. He used pseudonyms, such as Jeff Bogar (a house name) and James Cadell.

As Ronald Wills he published four crime novels in the early fifties, but they all seem to have something to do with fishes and fishing, and this here novel doesn't, so it's not any of them. What is it then?

The Finnish translation - at least my copy doesn't - doesn't give away the original title, but the bibliography of crime fiction published in Finnish and the Finnish National Library database both say it's What Comes Next? Now, that is a real novel, published in 1953 by the paperback house Scion. It was published under the house pseudonym Hans Vogel. And sure enough, the Finnish book has Hans Vogel as the hero. (Can you think of a more un-American name for a private eye?) But this isn't over yet. The British pulp and paperback scholar Steve Holland says in his blog that What Comes Next? features one Scud Keddell as the hero. And "He Never Came Home" doesn't have anyone called Scud Keddell. (And furthermore What Comes Next? isn't supposed to be written by Ronald Wills. Actually Ronald Wills doesn't seem to have written anything under the Hans Vogel house name.)

So, what gives here? Is this written by someone else entirely than Ronald Wills? Is this something entirely else written under a pseudonym by Ronald Wills, but published in Finland for some reason under his real name? Anything written as by Jeff Bogar doesn't even remotely sound like the book at hand. Or is this something that's been published only in Finland? As you might remember, while doing my first book, Pulpografia (on American crime paperbackers), I found out there were some dozen American books that were never published in the US, but published in Finland and/or Scandinavia.

different book published as by Hans Vogel

What's the book about? Oh, that's a different issue altogether. The book is a sorry mess, but somehow intriguing. Hans Vogel is a private eye working for the FBI (which, by the way, is spelled as FIB in the Finnish book), he handles very special cases. Now, there's a gang kidnapping small children of rich families and Vogel is hired to investigate the matter. He uses some strange methods that don't seem very professional. We never believe that this is a real private eye. Also we never believe this really takes place in the US, which is quite common for the early British crime paperbacks.

There are some truly odd moments throughout the book. Hans Vogel is for example tortured by boiling his feet in hot water. His skin peels off, but somehow he manages to still walk and drive a car. Okay, he admits he feels pain. There's also an odd perversion for talking about Nathaniel Hawthorne all the time - or actually "Nat", as Hans Vogel calls him. In the end Hans Vogel gets the kidnappers with the help of some 13-year old kids who are out playing Wild West with real-looking guns. The book is filled with erotic scenes, but nothing happens in them, they are just Vogel's descriptions of good-looking ladies in erotic costumes, such as silky night gowns. And this is what drove writers and publishers to jail?!

This is in no way a good crime novel, let alone a good novel, but there's something fascinating about the badness and weirdness of it. But the main thing here is the bibliographic puzzle. Can anyone help? I'd really love to solve this, but I don't know where else to look.

Basil Copper's Mike Faraday

In my on-going research into British pulp and paperback crime writing, I read the two novels by Basil Copper translated in Finnish. Both have Copper's private eye Mike Faraday as the hero, and both are pretty basic old-fashioned hardboiled private eye stuff.

Flip Side (1980, translated as Kuoleman kääntöpuoli/"The Flip-Side of Death") puts Faraday delve into the international jewel trade. Snow Job (1986, Älä huoli huomisesta/"Don't Worry About Tomorrow", meaningless title if there ever was one) has Faraday look into the drug trade, even though he doesn't know that from the start. Copper knows his business: in the end Faraday is investigating another case than he's originally hired to investigate. He runs into corpses and beautiful, but deceitful ladies, heavies with guns in their hands, all that stuff that's been known since Black Mask and Dime Detective made the cliches popular. The books were entertaining enough and Copper keeps the story moving, but there's still one problem: I've almost forgotten what happened in them.

Basil Copper also wrote some high-regarded horror stuff which I haven't read. He also wrote the Solar Pons stories after August Derleth died. I think I've read some of Derleth's Solar Pons stories, but none of the Copper ones.

The books in the picture above. The right one has the cover illo by Kari T. Leppänen, who's best known for his work in the Phantom magazine for the Swedish publisher. It's quite nicely done, but it's also pretty static for a hardboiled private eye novel.

Väinö Linna: The Unknown Soldier (1954)

Due to a book project I've been working on, I started to read Väinö Linna's classic war novel Tuntematon sotilas/The Unknown Soldier for the first time in my life. I'd earlier avoided the novel, mainly because I've always been a bit irritated at the notion of books one has to read for reasons larger than life (i.e. patriotism or the Fatherland or some such nonsense), but I was very glad to note I liked the book, was even thrilled by it.

The Unknown Soldier tells about the so called Continuation War in which Finland and the Soviet Union fought against each other. The war started in 1941 and ended in 1944. One of the biggest questions in Finnish history is whether Finland fought alongside Nazi Germany or whether it had its own war with the Soviets. The book is one of those realistic war novels, with the eye sight fixed on the everyday of the battling soldiers, their camaraderie, their fears, frustrations, hopes and anger. There are no heroes in this novel. The war is ugly, chaotic and violent. No one knows why they're fighting - only the higher officers have some idea and even that is filled with stupid notions of Greater Finland.

The Unknown Soldier has dated somewhat and we've had more realistic war novels since, but what keeps the book fresh is that it's polyphonic. There's not a single truth in the novel, there are only multiple narrators (or, actually, narratees) that present their variations of the situation. Linna writes warmly and empathetically of each and everyone of them, even the most obnoxious officers. And his battle scenes are quite good. He really captures the chaotic essence of war - well, as well he should, since he was himself at the war.

The book is available in English. The English translation came out from Putnam in the US and Collins in the UK in 1957, and I believe it was the same translation. For some reason or another, the translator's name isn't mentioned anywhere in the book. The translation is abridged (the reports on how heavily differ), and it's also clumsy with the Finnish idioms (which the book is full of). It's a miracle the translation should be so bad, since it's reported to be the work of one Alex Matson, a Finnish literary essayist, who spent many years in the 1920s living abroad and travelling the world seas. (Thanks for this tip to Ossi Kokko!)

However, it's the only English translation, and it's been used repeatedly even by Väinö Linna's Finnish publisher, WSOY (see the photo above for their edition). They've published several editions of the English translation - still with no translator's name attached. Seems like you could manage to buy the book via Amazon.

There's also the Ace edition from 1958, which is seemingly scarce (see above). The cover illustration is made by someone famous, but I forget who. The illustration was used in Finland in some entirely other paperback, but I forget even that one!

Edit: there's a small news item from 2012 saying that Penguin has bought the rights for Linna's novel and they are putting the new translation out in the near future. Liesl Yamaguchi is the translator.