|Vintage Pulp||Sep 9 2017|
The plot of the book is barely discernible, but partly involves a fishing boat and the various characters who covet it. Some want to fish in it, while others have more political aims that ultimately lead to deadly violence. The book worked for us not because of its plot, but because of its depiction of gringos cast adrift in Latin America. Despite the serious subject matter, Tallman's writing is ornate and often lighthearted. For example: “Ramirez, acquainted with the eellike elusiveness of this class of quarry, grabbed him by the most convenient handle, the baggy seat of his pants. There was an ominous sound of ripping fabric, and the disaster resulting was such that the poor witness, in all modesty, could not now walk upon the streets.”
Here's another nifty passage that gives an even better sense of Tallman's style: “Had a goddess leaped forth from the limpid, luminous swells, he would not have been altogether astonished. What did leap forth was much more unlikely. A slim, small-breasted woman with a face like an ecstatic mask, legs as long as a fashion drawing, and with the graceful bather's especial gift of emerging from the water without seeming wet: this is what he saw before he realized it was Ella Praline, stark naked, running up the beach pursued by a naked boy who resembled a faun in more ways than one.” Pretty cool, that whole sequence, though it ends rather weirdly for poor Ella.
In fact the whole novel is weird, and while it takes its time coming together, it eventually reveals itself to be good entertainment for those who don't mind fiction that's more influenced by Graham Greene than by Dashiell Hammett. Also, it spoke to us on a personal level because, like Tallman, we threw caution to the wind and moved abroad—to Guatemala not Mexico. Tallman captures the drinking, the fighting, the skinny dipping, the random stupidity, the constant undercurrent of danger, the earthquakes and volcanic eruptions, the beautiful women who pass through for days or weeks to turn the town upside down, and, most of all, the odd personalities who think all of this is the best possible way to live. We count ourselves among them. Whatever else one thinks of Adios O'Shaughnessy it has the feel of the real thing.
|Vintage Pulp||Aug 2 2017|
We checked online and the indications that you need a new mattress include: it's more than eight years old, you wake with aches and pains, and there's a noticeable sag. And the indications you need a new life include: your bed is in a filthy slum tenement. Such is the case with Perversity and Depravity, 1956 and 1957, in which virtually every character needs a do-over of their existence. Both books, by New Caledonian author Francis Carco, née François Carcopino-Tusoli, are set in the 1920s Parisian underworld of prostitution, crime, and poverty. Carco deals with these subjects compassionately, and his work is heavy with colloquialism and has a strong sense of place. He acquired his insight the old fashioned way—by consorting with the types of people he wrote about. Though his work is obscure in the English speaking world, he was fairly well regarded in his day and is still remembered in France. These are dark books, maybe even brutal, certainly ahead of their time. Harry Barton painted the cover of Perversity and an uncredited artist handled the chores on Depravity.
|Vintage Pulp||Oct 22 2015|
Chester Himes’ cycle of Harlem detective fiction spanned eight complete novels, and one unfinished effort, with four of the paperback editions illustrated by Harry Bennett, whose work you see above. Himes is world renowned, Bennett somewhat less so, but he was an award winning artist who illustrated hundreds of paperbacks during his career. We were reminded of him by a recent entry on Killer Covers, and remembered how much we like these four pieces. In contrast to his lushly rendered romance covers, or more conventional crime novel art, these have an almost spontaneous quality. Publisher input usually has quite a bit to do with it, but we suspect Bennett was also influenced by Himes’ writing and the Harlem setting, and as a result produced this jazzy art for a jazzy novelist. Excellent stuff.
|Vintage Pulp||Aug 13 2015|
Interesting Charles Copeland cover art for Victor Canning’s 1955 adventure thriller Twist of the Knife, published outside the U.S. as His Bones Are Coral. It’s the story of a drug smuggler flying contraband from Sudan to Egypt who crash lands near the town of Suabar, gets involved in a caper to raise gold from the waters of the Red Sea, and of course beds the only white girl within sight. This was actually made into a really bad Burt Reynolds movie called Shark! in 1970.
|Vintage Pulp||Mar 17 2015|
|Vintage Pulp||Aug 31 2014|