Wednesday, January 29, 2025
Pull Up a Chair and Stay Awhile
Every once in a while I need to revisit a theme here in Killer Covers. Today, it’s the use of butterfly chairs on paperback fronts.
My first gallery of such covers was posted way back in 2015. Seven years later, I included butterfly chairs in a CrimeReads feature focused on “seven colorful cover themes from crime fiction’s past.” Now I bring you a couple of new examples fitting this motif, plus three that I didn’t include in the 2015 Killer Covers selection.
The image shown above comes from Counterfeit Kill, a 1963 Gold Medal release attributed to “Gordon Davis,” which was one of several pseudonyms employed by E. Howard Hunt (later infamous for his role in Richard Nixon’s Watergate scandal). The artwork for that standalone novel is attributed to the great Mitchell Hooks. Meanwhile, Harry Barton created the front of Hank Janson’s Cold Dead Coed (Gold Star, 1964). The cover image for Tudor from Lesbos (Beacon, 1964) is regrettably uncredited. Murder on Ice (Ensign, 1973), by “Michael Bardsley,” aka Anthony Nuttall, carries an illustration by Spanish comics artist Manfred Sommer. And Hooks was again behind the cover of John D. MacDonald’s On the Make (Dell, 1960).
If I owned a butterfly chair, I’d happily sit back in it and fully appreciate all five of these vintage works.
Saturday, January 25, 2025
“Holocaust,” by Anthony McCall
Holocaust, by “Anthony McCall,” aka Henry Kane (Pocket, 1968). Published originally in hardcover in 1967, this appears to be one of only two novels Kane—the creator of swingin’ New York City private eye Peter Chambers—published under his McCall pseudonym. The other was Operation Delta.
Cover illustration by Harry Bennett.
Labels:
E. Howard Hunt,
Harry Bennett,
Henry Kane
Thursday, January 23, 2025
A Cartoonist’s Existential Crisis
Jules Feiffer, the Pulitzer Prize-winning American cartoonist and author, passed away last week at age 95. Cause of death: congestive heart failure. “[He] left an abundant legacy across a range of artistic media,” Etelka Lehoczky recalls in an obituary for National Public Radio. “The history of graphic art, literature, film and the theater bear the imprint of his ever-distinctive, ever-wayward pen.”
But Feiffer is most familiar to the most people for his artwork, whether it be his satirical cartoons, his comic strips, or his illustrations, many of them reprinted in books, such as 1958’s Sick, Sick, Sick: A Guide to Non-Confident Living. In addition, however, he left behind two novels: 1963’s Harry the Rat with Women and 1977’s Ackroyd, the latter of which is subtitled “A Mystery of Identity.” On The Thrilling Detective Web Site, Kevin Burton Smith calls it
a rather strange book, taking the form of the diary of Robert Hollister, a neurotic young man who has decided to become a private eye named Roger Ackroyd (a tip of the fedora to Agatha Christie’s classic The Murder of Roger Ackroyd) by posting an ad in the Saturday Review. But Robert/Roger becomes obsessed with one of his very first clients, Oscar “Rags” Plante, a newspaper sports columnist/novelist and his wife Annabelle, whose parakeet has gone missing.Smith explains that this book “covers several years of Robert/Roger’s (and Oscar’s) life, and as their characters slowly merge, we’re treated to a sort of blurry (but often amusing) existential crisis.”
The case? Investigate the bad case of writer’s block that Rags claims he’s suffering from.
I read Ackroyd decades ago, and still have the 1978 Avon paperback edition featured above, though I can’t seem to lay my hands on it just now. When I started writing this post, I logically assumed that Ackroyd’s cover must have been painted by Feiffer; he did, after all, create the fronts for other books (Norton Juster’s The Phantom Toolbooth being a prime example). Yet that was incorrect. There’s a signature at the bottom of the illustration, and it clearly reads “Stanislaw Fernandes.” Fernandes is an artist, born in 1945, who I know best for his science-fiction and fantasy covers.
(Above) Stanislaw Fernandes’ signature on Ackroyd.
Never in a million years would I have guessed that Feiffer’s “funny, but not funny enough” novel (to quote Smith again) would have shared a cover artist with classics by Arthur C. Clarke, Stanislaw Lem, and Michael Moorcock. The world never ceases to surprise.
LISTEN UP: “Remembering Pulitzer Prize-winning Cartoonist Jules Feiffer” (National Public Radio’s Fresh Air).
Labels:
Obits,
Stanislaw Fernandes
Sunday, January 19, 2025
We Are Sixteen Going on Seventeen
I absolutely love the paperback artistry of Ernest Chiriacka, aka “Darcy” (1913-2010), so I’ll employ pretty much any excuse to post more of his work on this page. But today is a special occasion—Killer Covers’ 16th birthday! To celebrate that, I am finally displaying (above) his front from the 1960 Pyramid Books edition of Roadside Night, by Erwin N. Nistler and Gerry P. Broderick.
Alas and alack, this is not a novel from my collection. But I’ve heard favorable comments about it over the years. The excellent blog Reading California Fiction—which was written by Don Napoli, before his death at age 79 in early 2021—offers this synopsis of its plot:
Ex-Marine Buck Randall is settled into a comfortable life. He owns and manages a small bar and motel up the coast from San Diego. The business keeps him solvent. His assistant Dom reliably helps out around the place. Joyce, an attractive eighteen-year-old who’s had a crush on him for years, is eager to become a serious girlfriend. His steady customers are also his friends. Then one day a stunning redhead, Sylvia Landon, comes into the bar. She exudes a sex appeal that Buck hasn’t felt before. Even after she leaves he can’t stop thinking about her. She returns; they talk briefly. She returns again; he cooks dinner for her. They spend the night together. He’s hooked.The pair behind that slender example of “motel noir” are hardly household names. Novelist James Reasoner wrote in a 2009 critique of Roadside Night that “As far as I’ve been able to discover, this is the only book [Nistler and Broderick] ever published.” Nonetheless, he agrees with Napoli that it’s a better-than-average crime yarn. “What makes it worth reading is the prose,” Reasoner opines, “which is bleak and fast-paced, and the sweaty air of doom and desperation that hangs over the book like fog rolling in from the sea. … This isn’t some lost masterpiece of crime fiction, but it’s well worth reading and would make a good candidate for reprinting.”
The general outline of this story is apparent from the first few sentences. Sylvia is going to lure Buck into trouble to fulfill some nefarious purpose of her own. That’s not an original premise. So the question is how effectively Nistler and Broderick work it out. And here the authors deserve kudos all around. Buck, the first-person narrator, not only describes events but relays his feelings as well. These change with each plot twist. Longing, satisfaction, doubt, curiosity, guilt, anxiety all run through his mind. The writing is spare almost (but not quite) to the point of parody: short words, short sentences, short paragraphs, and of course a short book. The terseness keeps the story moving quickly and generates tension until the very end. Fans of the femme fatale are bound to enjoy this book.
There have already been several editions of Roadside Night produced, all by Pyramid. The one presented just above and on the left is the original printing from 1951, boasting an illustration by Canada-born Hunter Barker. To its right sits a still more captivating version, released in 1955. I regret not knowing the identity of that one’s cover artist. Does anybody reading this recognize the style?
When I launched this blog in 2009, I never imagined I’d still be writing it more than a decade and a half later. Yet here we are. I have a multitude of covers just as interesting as these stored away in my computer files. All I need is the energy, free time, and—in cases such as this—the proper occasion to retrieve and post them. Thank you for sticking with me during this long and oft-surprising ride!
(And yes, a classic song inspired the title of this piece.)
Thursday, January 9, 2025
Because I Needed a Fischer Fix …
The Silent Dust, by Bruno Fischer (Signet, 1951). This was the fourth of five Fischer novels to feature Ben Helm, an ex-cop turned private investigator in New York City.
Cover illustration by Warren King.
Labels:
Book Fixes,
Bruno Fischer,
Warren King
Thursday, January 2, 2025
“Goin’,” by Jack M. Bickham
Goin’, by Jack M. Bickham (Popular Library, 1971). Cover illustration by Lew McCance.
(Hat tip to Tim Hewitt for the artwork.)
Labels:
Lew McCance
Tuesday, December 24, 2024
Another Look: “Walk with Evil”
Warning: Artistic inspiration drawn from book titles may vary.
Left: Walk with Evil, by Robert Wilder (Crest, 1957); cover illustration by Charles Binger. Right: Walk with Evil, by Robert Wilder (Crest, 1960); with a cover by Barye Phillips.
Left: Walk with Evil, by Robert Wilder (Crest, 1957); cover illustration by Charles Binger. Right: Walk with Evil, by Robert Wilder (Crest, 1960); with a cover by Barye Phillips.
Labels:
Another Look,
Barye Phillips,
Charles Binger
Friday, December 20, 2024
“The Mutilators,” by Basil Heatter
The Mutilators, by Basil Heatter (Gold Medal, 1962), featuring cover artwork by John McDermott.
According to a write-up on the Web site of Stark House Press (which has so far republished two of his novels), “Basil Heatter, the son of radio commentator Gabriel Heatter, was born on Long Island on March 26, 1918. He attended schools in Connecticut, then went abroad when was 16 for a two-year travel stint through Europe. Returning to America, he went to work for a New York advertising agency. He enlisted in the Navy in 1940 and during WWII served as a skipper on a PT (patrol torpedo) boat in the Southwest Pacific.
“Besides being a news commentator himself, Heatter wrote twenty novels of intrigue and adventure—beginning with The Dim View in 1946, the story of a young PT boat skipper—as well as several non-fiction works revolving around his love of the sea. In fact, he lived for years off Key West on his own self-built sailboat, The Blue Duck. He passed away June 12, 2009, in Miami, Florida.”
READ MORE: “Basil Heatter and the Great Comma Awakening,” by Robert Fromberg (Los Angeles Review of Books).
Labels:
John McDermott
Wednesday, December 18, 2024
“Do Not Murder Before Christmas,” by Jack Iams
Do Not Murder Before Christmas, by Jack Iams (Dell, 1951). Although this novel was published in hardcover in 1949, by William Morrow, it is the above paperback edition that wins the most notice, especially at this time of year. The artwork here is by Robert Stanley, about whom we’ve written extensively before, and the story is the fifth to star newspaper editor Stanley Rockwell, aka Rocky. Author Iams—whose real name was Samuel H. Iams Jr. (1910-1990)—was himself a journalist with more than half a century’s experience, having labored as “a foreign correspondent, a writer for Newsweek, and an author of comic and mystery novels,” according to his obituary.
Labels:
Robert Stanley
Tuesday, November 26, 2024
“This Is for Keeps,” by George Joseph
This Is for Keeps, by George Joseph (Popular Library, 1958). Men’s magazines historian Robert Deis says that Joseph “worked as a lawyer in New Zealand for 40 years. On the side, he wrote hundreds of short stories and a number of fiction and non-fiction books.” Among Joseph’s other works were the novels When the Rainbow Is Pale (1962), Take Any City (1970), Trial and Error (1979), and the non-fiction study By a Person or Persons Unknown (1982), which showcases unsolved New Zealand homicides.
Cover artwork by Harry Schaare.
Labels:
Harry Schaare
Wednesday, November 13, 2024
Another Look: “Dead Men’s Plans”
Warning: Artistic inspiration drawn from book titles may vary.
Left: Dead Men’s Plans, by Mignon G. Eberhart (Dell, 1954); cover illustration by Richard M. Powers. Right: Dead Men’s Plans, by Mignon G. Eberhart (Popular Library, 1963); with a truly disconcerting cover painting by William Teason.
Nebraska-born author Eberhart (1899-1996) is said to have had one of the longest—and most profitable—careers of any American crime-fictionist. Her debut novel, The Patient in Room 18 (1929), was selected last year as one of Time magazine’s “100 Best Mystery and Thriller Books of All Time.” It was also the first of seven medical mystery novels starring nurse Sarah Keate. Eberhart wrote many more standout standalones, among them The House on the Roof (1935), Danger in the Dark (1937), With This Ring (1941), and Five Passengers from Lisbon (1946). Dead Men’s Plans, about the inheritance of a shipping empire gone dangerously awry, saw print originally in 1952. Eberhart received the Mystery Writers of America’s Grand Master Award in 1971. Her final book, Three Days for Emeralds, appeared in 1988.
I am embarrassed to say I’ve never read Eberhart’s work, but intend to remedy that situation soon by picking up her fifth Keate tale, Murder of an Aristocrat, which was reissued in 2019 as part of Otto Penzler’s American Mystery Classics series. The write-up on Aristocrat calls it “a thrilling mystery set in the rarified world of a wealthy Midwestern family … [that] renders its pulse-pounding suspense and puzzling crimes with eloquent prose, exemplifying why Eberhart was widely known, in her day, as ‘the atmosphere queen.”
READ MORE: “Your Guide to Mignon Eberhart: America's Agatha Christie,” by Harry Pearson (Murder & Mayhem).
Left: Dead Men’s Plans, by Mignon G. Eberhart (Dell, 1954); cover illustration by Richard M. Powers. Right: Dead Men’s Plans, by Mignon G. Eberhart (Popular Library, 1963); with a truly disconcerting cover painting by William Teason.
Nebraska-born author Eberhart (1899-1996) is said to have had one of the longest—and most profitable—careers of any American crime-fictionist. Her debut novel, The Patient in Room 18 (1929), was selected last year as one of Time magazine’s “100 Best Mystery and Thriller Books of All Time.” It was also the first of seven medical mystery novels starring nurse Sarah Keate. Eberhart wrote many more standout standalones, among them The House on the Roof (1935), Danger in the Dark (1937), With This Ring (1941), and Five Passengers from Lisbon (1946). Dead Men’s Plans, about the inheritance of a shipping empire gone dangerously awry, saw print originally in 1952. Eberhart received the Mystery Writers of America’s Grand Master Award in 1971. Her final book, Three Days for Emeralds, appeared in 1988.
I am embarrassed to say I’ve never read Eberhart’s work, but intend to remedy that situation soon by picking up her fifth Keate tale, Murder of an Aristocrat, which was reissued in 2019 as part of Otto Penzler’s American Mystery Classics series. The write-up on Aristocrat calls it “a thrilling mystery set in the rarified world of a wealthy Midwestern family … [that] renders its pulse-pounding suspense and puzzling crimes with eloquent prose, exemplifying why Eberhart was widely known, in her day, as ‘the atmosphere queen.”
READ MORE: “Your Guide to Mignon Eberhart: America's Agatha Christie,” by Harry Pearson (Murder & Mayhem).
Labels:
Another Look,
Richard M. Powers,
William Teason
Thursday, November 7, 2024
“Danger for Breakfast,” by John McPartland
Danger for Breakfast, by John McPartland (Gold Medal, 1956).
According to Wikipedia, John Donald McPartland was born in Chicago, Illinois, back in 1911, and later went on to train as an engineer. However, after serving with the U.S. Army in World War II, McPartland transformed himself into a journalist and author. His controversial but fairly successful non-fiction work, Sex in Our Changing World (1947), was described by The New York Times as “essentially a sermon” about how, since the war ended, “America has changed drastically from a sex-shy, inhibited people to a hedonistic, cynical people, openly in search of pleasure.” He followed up that debut in 1952 with Love Me Now, his first work of hard-boiled fiction.
McPartland subsequently composed Tokyo Doll (1953) and Affair in Tokyo (1954)—both influenced by the time he spent in the South Pacific as an Army reservist during the Korean War—as well as The Face of Evil (1954) and The Kingdom of Johnny Cool (1959), the latter of which was adapted into the 1963 film Johnny Cool starring Elizabeth Montgomery and Henry Silva. The novel that gained him the greatest attention, though, was No Down Payment, a tale of suburban sex, alcohol, and marriage troubles that reached print in 1957 and was soon transformed into a movie of that same title starring Joanne Woodward, Sheree North, and Tony Randall.
Danger for Breakfast, featuring paperback cover art by Barye Phillips, has been all but forgotten over the decades. Yet its back-cover plot précis shows the author’s taste for international intrigue:
She was half naked and sobbing when MacBride saw her first, in the fourth-floor corridor of a Tokyo hotel.In all, McPartland published 11 novels, several of which remain in print (including a Stark House Press combo of Big Red’s Daughter and Tokyo Doll, and Centipede Press’ reprint of 1956’s I'll See You in Hell), and saw half a dozen of his screenplays produced. Unfortunately, his career was cut short by a heart attack in 1958, when he was 47 years old and living in Monterey, California.
Pooled out around her were four men—one dying, one dead, and one ferociously hurt. MacBride had broken the throat of one and blinded another.
Her name was Dorrie Eden. She had copper-red hair and a wonderful body, and the secret she knew made her a living time bomb—the most dangerous woman alive in the East.
They assigned MacBride to Dorrie Eden. They told him to kill her and make it look like an accident.
It was a hell of a way to protect his country—because by then MacBride had fallen in love with her.
Not until the settlement of his estate was it learned that the author had—as Time magazine put it—“lived as harum-scarum a life as any of his characters, had a legal wife and son at Mill Valley, Calif., [plus] a mistress at Monterey who bore him five children and who, as Mrs. Eleanor McPartland, was named the city’s 1956 ‘Mother of the Year.’ Later, McPartland’s legal widow submitted the daughter of an unnamed third woman as one of the novelist’s rightful heirs.”
Labels:
Robert Maguire
Monday, October 28, 2024
“Hot Lips,” by Jack Hanley
Hot Lips, by Jack Hanley (Intimate, 1952).
I don't own this long-forgotten paperback novel, but in its 2019 write-up about Hot Lips, Pulp International said its story is
about an ‘all-girl’ orchestra called the Musical Queens and the things they do when boys aren’t around. Which we can understand. Just look at the male figure [on the cover], whose name is Pete. What exactly does he bring to this party? A sense of brooding entitlement? A vague homophobic hostility? The latter, for sure, since he lost his wife to another woman and is dismayed to find himself in sexual competition with the band’s man-hating sax player. Why does saxy Mona hate men? Because her husband turned out to be a drag queen. But all Pete has to do is wait a bit, because while the wholesome, virginal object of desire in this, Althea, may be tempted by wild musical lesbians, such assignations are never permanent in mid-century genre fiction. It’s heteronormativity or death—literally, sometimes. Put Hot Lips in the lesbians-are-bad bin with a pile of other novels from the period.The party responsible for this tantalizing tale, Jack Hanley (1905-1963), has been described as “a novelist and television writer of no special talent, [who] specialized in racy material:” Among Hanley’s other works of fiction were Star Lust (1951), Very Private Secretary (1952), and New York Model (1953). He also penned non-fiction books, including Let's Make Mary: Being a Gentleman's Guide to Scientific Seduction in Eight Easy Lessons (1937).
As to the cover of Hot Lips, it was painted by Warren King (1916-1968). In addition to creating magazine illustrations and book covers, King was a longtime editorial cartoonist for the New York Daily News and a comic-book artist.
Labels:
Warren King
Sunday, October 20, 2024
“Above Suspicion,” by Helen MacInness
Above Suspicion, by Helen MacInness (Fawcett Crest, 1981). Cover illustration by Ron Lesser. This same artwork was also used to front the 1983 Leisure Books mass-market paperback edition of The Microwave Factor, by Aaron Fletcher.
(Hat tip to Tim Hewitt.)
Labels:
Ron Lesser
Tuesday, October 15, 2024
Another Look: “Striptease”
Warning: Artistic inspiration drawn from book titles may vary.
Left: Striptease, by Georges Simenon (Hamish Hamilton UK, 1958); with an altogether spectacular cover illustration by an unidentified artist. Right: Striptease, by Georges Simenon (Penguin, 1963); cover painting by Romek Marber.
Left: Striptease, by Georges Simenon (Hamish Hamilton UK, 1958); with an altogether spectacular cover illustration by an unidentified artist. Right: Striptease, by Georges Simenon (Penguin, 1963); cover painting by Romek Marber.
Labels:
Georges Simenon,
Romek Marber,
Unknown Artists
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