WORKING IT AT HOME

So I'm getting time-and-a-half for this, right?


Above: cover art for After Office Hours, classic work/office sleaze from author Brian Black and publisher Beacon Signal, copyright 1964. The excellent art is by Ernest Chriacka, who signed this piece as his alter ego Darcy. 

I want to remember everything about this experience. For starters tell me your name.


The 1962 novel Witch with Blue Eyes, which you see here with its Ernest Chiriacka cover art, is about a man who quits a big hotel operation, hires on as manager of the Snug Haven roadside motel, but must battle two craven partners in order to turn it from a shady dive into a respectable success. The hours and stress test his marriage to the owner’s daughter, and problems worsen when his former lover—the eponymous witch with blue eyes—arrives on the scene (accompanied by her evil cat Big Bad) to ruin him. The book was presented by publishers Beacon-Signal as sleaze, but it’s virtually sexless, and as a pure drama it’s flatter than a flapjack. We suggest you don’t check in to this motel. 

No man who dumps her ever lives to regret it.

One day there will be no more Charles Williams for us to read, and that’ll be sad, but his books, like good wine, are something you have to treat yourself to regularly even as the stock dwindles. His 1958 novel All the Way, which is the source material for the 1960 movie The 3rd Voice, is typically solid Williams work.

It has a fascinating plot at its center. A vengeful woman enlists a fugitive to help her steal her former lover’s identity, then impersonate him for weeks afterward so nobody will suspect when he disappears that she’s actually killed him. The reason people are supposed to assume a disappearance instead of murder has to do with paranoid schizophrenia in the ex-lover’s family, and the fact that the fugitive impersonating him has been faking its rapid onset, publicly and loudly.

With the ground laid in this way, a disappearance will be the logical conclusion, and since the man is rich, the fact that a hundred seventy grand is missing from his bank accounts merely indicates he’s never coming back—not that an imposter has withdrawn the cash. The scheme is convoluted, but the genius femmes who come up with them are a staple of pulp literature. Williams gets the job done again, as does Ernest Chiriacka, who painted the cover art. 

For every job there's a perfect tool.


In Ed Lacy’s 1961 boxing drama The Big Fix, the fix is defnitely in, and in the worst way possible. Tommy Cork, a thirty-something middleweight boxer who in his prime battled Sugar Ray Robinson, becomes the pet project of a dilletante boxing manager who promises that with the best training, diet, and promotion Cork can reach the top again. Sounds good, but Tommy has unwittingly become the focus of a deadly scam, a plan to find some desperate boxer with a reputation for ugly losses, make a show of training him for high profile bouts, all the while taking out a life insurance policy on him, then having a hammerfisted accomplice kill him in the ring. Since the murder will happen before a crowd, there will be no suspicion of foul play, particularly for a pug known for fighting stubbornly and hitting the canvas hard.

But nothing is straightforward in Lacy’s hands. Tommy’s wife May, hopeful for a better life, gets into trouble with violent numbers runners, an aspiring writer sees the couple as the perfect pathetic characters to be the focus of a novel, an ex-boxer cop starts to get wise to the murder scheme, and other twists come from nowhere to infinitely complicate the tale. Despite the subplots, as readers you know the only fitting climax is one that takes place in the ring, and Lacy pushes the story inexorably toward that showdown, hapless Tommy facing off against a man who plans to kill him with a relentless assault, or if possible a single blow. If he’s going to have help, he’ll need to provide it himself. As usual, Lacy tells a good story. He’s reliably full of excellent ideas. That also goes for Ernest Chiriacka, who painted the eye-catching cover.
Is sex déjà-vu a thing? Because I feel like we've lived this before. Try not to finish so fast this time.


Above: a cover for Val Munroe’s Lisette, painted by Darcy, aka Ernest Chiriacka for Beacon Signal, 1962. We were surprised when we discovered this was Munroe’s Carnival of Passion under a different title. Since the name of the main character is Lisette rather than Liz, we didn’t guess it was the same book, and you’ll also notice the cover doesn’t mention a carnival. Luckily we didn’t pay for this because it was available for download on Archive.org. By the way, the story wasn’t the only thing repeated here. The art was later paired with Dee Winters’ 1965 sleazer The Swingers, as you see below.
Okay... love you too... too tight... need to breathe now...

This is a classic cover from highly respected paperback artist Ernest Chiriacka, aka Darcy, one of his very best. He specialized in couples. Embracing couples, smooching couples, angry couples, pensive couples, but in most cases his work has the same sort of feel you see above. We’ve put together a collection to show you in a bit. In the meantime, let this excellent example whet your appetite, and remember—if you love somebody set them free.

This is a Dior blouse you've managed to ruin, FYI, just in case you have anything resembling a human soul.

The lead character in Peter Rabe’s Stop This Man is a jackass, but he isn’t a rapist. This cover by Darcy, aka Ernest Chiriacka, does capture his essential nature, though, as he’s bossy as hell and sees woman mainly as objects to be possessed or manipulated. When he intrudes into the back room of a club and encounters a female employee changing clothes he intimidates her into continuing so he can see her naked. As often happens in mid-century crime novels, she decides this makes him a real man and falls for him. It’s not rape but it’s definitely rapey. But of course us modern readers are aware of this going in, right? The sexism, the racism, all the rest, are features of 1950s crime literature. Each person needs to decide whether there’s something to be gained in the fiction despite its affronts to societal values.

In Stop This Man lots of people are trying to stop Tony Catell, but not from harassing women. They want to thwart his criminal master plan. In mid-century crime fiction the main character is often in possession of an ill gotten item he expects to open the gateway to a better life. It may be money or bearer bonds or a rare diamond. Here the item is a thirty-six pound ingot of stolen gold. Catell hopes to fence it but the trick is to find an interested party who will give him a good price. Did we forget to mention that it’s radioactive? There’s always a catch, right? People who come into extended contact with this brick of gold die, but that doesn’t stop Catell. He wraps it in an x-ray technician’s lead lined apron and travels from Detroit to L.A. seeking a buyer for this lethal hunk of heavy metal.

Catell is kind of radioactive too, actually, in the sense that he’s bad news through and through. He plans to sell his killer treasure, but has no idea the radiation is turning it into mercury. It’s a cool set-up for a thriller by Rabe in his debut novel. You may be thinking 1952’s Kiss Me, Deadly did it first, but Spillane’s novel does not have the radioactive suitcase made famous by the movie adaptation, so this could be—could be, because we haven’t read every book out there—the first time this nuclear gimmick appeared. It was originally published in 1955, which means it’s also possible the nuclear angle was influenced by Kiss Me Deadly the film, which appeared in May the same year. But while Stop This Man is cleverly set up and is as hard-boiled as any crime novel we’ve come across, overall we felt it should have been executed at a higher level.

In the naked city there are a million reasons to kill and die.

In Dead End two crooked cops end up with a million dollars in dirty money and decide to ditch their jobs and flee the country. But their law enforcement colleagues are after them, so first they hole up in an old Prohibition hideout to let the heat dissipate. How long will they stay in this little room? As long as it takes. The older cop Doc suggests months. The younger cop Bucky is going crazy in days. You know for a certaintly that this partnership isn’t going to end well. Lacy is up and down as a writer but this is him on the upswing. Originally published as Be Careful How You Live in 1959, this Pyramid paperback appeared in 1960 with cover art by Ernest Chiriacka.

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HISTORY REWIND

The headlines that mattered yesteryear.

1926—Aimee Semple McPherson Disappears

In the U.S., Canadian born evangelist Aimee Semple McPherson disappears from Venice Beach, California in the middle of the afternoon. She is initially thought to have drowned, but on June 23, McPherson stumbles out of the desert in Agua Prieta, a Mexican town across the border from Douglas, Arizona, claiming to have been kidnapped, drugged, tortured and held for ransom in a shack by two people named Steve and Mexicali Rose. However, it soon becomes clear that McPherson’s tale is fabricated, though to this day the reasons behind it remain unknown.

1964—Mods and Rockers Jailed After Riots

In Britain, scores of youths are jailed following a weekend of violent clashes between gangs of Mods and Rockers in Brighton and other south coast resorts. Mods listened to ska music and The Who, wore suits and rode Italian scooters, while Rockers listened to Elvis and Gene Vincent, and rode motorcycles. These differences triggered the violence.

1974—Police Raid SLA Headquarters

In the U.S., Los Angeles police raid the headquarters of the revolutionary group the Symbionese Liberation Army, resulting in the deaths of six members. The SLA had gained international notoriety by kidnapping nineteen-year old media heiress Patty Hearst from her Berkeley, California apartment, an act which precipitated her participation in an armed bank robbery.

1978—Charlie Chaplin's Missing Body Is Found

Eleven weeks after it was disinterred and stolen from a grave in Corsier near Lausanne, Switzerland, Charlie Chaplin’s corpse is found by police. Two men—Roman Wardas, a 24-year-old Pole, and Gantscho Ganev, a 38-year-old Bulgarian—are convicted in December of stealing the coffin and trying to extort £400,000 from the Chaplin family.

1918—U.S. Congress Passes the Sedition Act

In the U.S., Congress passes a set of amendments to the Espionage Act called the Sedition Act, which makes “disloyal, profane, scurrilous, or abusive language” about the United States government, its flag, or its armed forces, as well as language that causes foreigners to view the American government or its institutions with contempt, an imprisonable offense. The Act specifically applies only during times of war, but later is pushed by politicians as a possible peacetime law, specifically to prevent political uprisings in African-American communities. But the Act is never extended and is repealed entirely in 1920.

1905—Las Vegas Is Founded

Las Vegas, Nevada is founded when 110 acres of barren desert land in what had once been part of Mexico are auctioned off to various buyers. The area sold is located in what later would become the downtown section of the city. From these humble beginnings Vegas becomes the most populous city in Nevada, an internationally renowned resort for gambling, shopping, fine dining and sporting events, as well as a symbol of American excess. Today Las Vegas remains one of the fastest growing municipalities in the United States.

1928—Mickey Mouse Premieres

The animated character Mickey Mouse, along with the female mouse Minnie, premiere in the cartoon Plane Crazy, a short co-directed by Walt Disney and Ub Iwerks. This first cartoon was poorly received, however Mickey would eventually go on to become a smash success, as well as the most recognized symbol of the Disney empire.

Italian illustrator Benedetto Caroselli was a top talent in the realm of cover art. We have several examples of his best work from novels published by Grandi Edizioni Internazionali and other companies.
Art by Kirk Wilson for Harlan Ellison's juvenile delinquent collection The Deadly Streets.
Art by Sam Peffer, aka Peff, for Louis Charbonneau's 1963 novel The Trapped Ones.
Horwitz Books out of Australia used many celebrities on its covers. This one has Belgian actress Dominique Wilms.

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