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Category: Pulp

A (Black) Gat in the Hand: Rory Gallagher and the Continental Op

A (Black) Gat in the Hand: Rory Gallagher and the Continental Op

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Gat_GallagherBlinds“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” — Phillip Marlowe in Raymond Chandler’s The Big Sleep

I just finished the intro for Volume 4 of Steeger Books’ The Continental Op series. I’ll post it here after the book comes out, of course. But being in an Op mood, I wanted to bring back an Op mashup post which I did waaaay back in 2018.

Rory Gallagher passed in 1995. Wow – that’s 31 years ago now. An Irish blues-rock guitarist and singer, he is still revered throughout Europe. I don’t mean ‘popular.’ Think Eric Clapton status. There are statues of, and public spaces named after, him, in Ireland.

Of course musicians in America know of him. But he is not popularly-remembered here. Ask someone to name their ten favorite guitarists, and I don’t think you’ll hear his name very often.

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A (Black) Gat in the Hand: Marvel Goes Noir. And NAILS It!!!

A (Black) Gat in the Hand: Marvel Goes Noir. And NAILS It!!!

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“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.”
– Raymond Chandler

Spider-Noir is the best thing to happen to Marvel streaming since…well, Daredevil: Born Again. So yeah, not that long ago. I’ve only watched the first three – of eight – episodes so far. Because this is too good to binge. It should be savored. It may not be everybody’s cup of tea, but I LOVE that it’s an homage to hardboiled Pulp and Noir. Which you might know I blog about once in awhile…

No spoilers here (if I can help it). I just wanna talk about the Noir vibe a bit. I’ll do a full blown post after I watch it all (and when some spoilers will be okay). These folks absolutely know their source material. And I’m talking about Pulp, not Marvel.

A little Spider-Man Noir history first. The character appeared in a short comic book run in 2009, which I had certainly never heard of. But I’m not a comic book guy.

Then, back in 2018, the first of the animated Spider-Verse movies came out, with Miles Morales as the main Spider-Man. In the same scene with Spider-Ham (he still cracks me up), Peter and Miles meet a Nicholas Cage-voiced Spider-Man Noir. He has a few scenes after that.

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A (Black) Gat in the Hand: Elliot Gould’s Better Philip Marlowe

A (Black) Gat in the Hand: Elliot Gould’s Better Philip Marlowe

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“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.”

– Phillip Marlowe in Raymond Chandler’s The Big Sleep

Back in the Summer of 2020, A (Black) Gat in the Hand looked at some screen and radio productions for Raymond Chandler’s private eye, Philip Marlowe. Two months before, I had done a separate post on Powers Boothe’s terrific series for HBO. That series was really the impetus to move me from not liking Raymond Chandler, to being a fan.

There was a second thing which brought me all the way in to being a Chandler guy. Now, I cannot abide Elliott Gould’s The Long Goodbye. My attempts to ‘try again’ inevitably lead to me quitting the re-watch. I don’t like my Marlowe in 1973, and it’s my least favorite Marlowe on screen.

However, as with Powers Boothe, I wouldn’t be a fan of Raymond Chandler if not for Gould. He recorded all the Marlowe novels, as well as several of Chandler’s non-Marlowe short stories, as audiobooks. This was way back in cassette days, and I was smart enough to pick up several of the CDs, even though I wasn’t into Chandler then.

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A (Black) Gat in the Hand: All My Steeger Books Intros

A (Black) Gat in the Hand: All My Steeger Books Intros

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It’s mid-May, and I’ve been in something of a hardboiled mood lately. So with Summer looming, here’s a Black (Gat) in the Hand. More Pulp is coming, like a gumshoe with a gasper and a rod.

I am fortunate to be part of a star-studded roster of writers who provide intros to Pulp reprints from Steeger Books. More and more classic, and forgotten, Pulp is continually being brought back to print – and electronically as well. I just finished my tenth intro, and that will roll out with number eleven, later this year.

Below you can find links to all nine of the intros that have been printed so far. Plus a bonus one that didn’t quite make it. If you like what I had to say, you might be interested in checking out the books themselves. You’ll likely recognize at least a couple of the names below. But I cannot praise the Max Latin stories by Norbert Davis, enough. I have the audiobook, and that’s my bedtime listening multiple times a week, all year long. Love those stories.

FAST ONE (Paul Cain)

Lead Party has all of Paul Cain’s short stories, as well as his lone novel, Fast One. Mine is one of five essays in this deluxe hardback. And I got to write about Fast One!

Raymond Chandler referred to it as “some kind of high point in the hardboiled manner.” I think this is a nearly flawless book, and it rivals The Maltese Falcon as my favorite Hardboiled novel. If you haven’t read it, you’re missing out on one of the best works in the genre.

Cain had somewhat of a mysterious life, and he wrote screenplays under the name Peter Rurik. While his legal name was George Sims. He died living quietly, his past largely buried.

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Another Classic Sword & Sorcery Anthology: The Barbarian Swordsmen, edited by Sean Richards (AKA Peter Haining)

Another Classic Sword & Sorcery Anthology: The Barbarian Swordsmen, edited by Sean Richards (AKA Peter Haining)

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The Barbarian Swordsmen (Star, 1981). Cover by Gino D’Achille

The Barbarian Swordsmen, edited by Sean Richards, Star publishers, a British press, 1981, cool cover by Gino D’Achille. A collection of Sword & Sorcery (S&S) tales that likely wouldn’t exist except for Robert E. Howard.

I couldn’t find out much about Mr. Richards but Toby Hooper revealed to me that Richards has been reported as a pseudonym for Peter Haining and that appears to be true. His intro here doesn’t reveal anything.

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Robert E. Howard Days, 2026, and The Emerging Writers Workshop

Robert E. Howard Days, 2026, and The Emerging Writers Workshop

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The House!

After what seems like strange aeons of dreaming about it, Mark Finn, Jason Waltz, and  I (Adrian Simmons) have pulled the trigger on running an in-person Sword & Sorcery writing workshop.  Added bonus, we’re holding it in the heart of S&S history, Cross Plains Texas, Robert E. Howard’s home during his days of creating characters like Conan, Soloman Kane, Brikenridge Elkins, El Borak, among others.

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A (Black) Gat in the Hand: Will Murray on Dash(iell) and (Lester) Dent

A (Black) Gat in the Hand: Will Murray on Dash(iell) and (Lester) Dent

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Frequent guest columnist, New Pulp maven Will Murray, is back with more speculation: this time linking about the two biggest names in Pulp. Was Dashiell Hammett a Lester Dent fan? Well, let’s find out! 

The so-called Pulp Jungle, as Frank Gruber once called it, was a densely populated wonderland, at least insofar the greatest concentration of pulp magazine writers lived in or in close proximity to New York City, where most of the publishers were established.

Late in life, Theodore Tinsley, a regular contributor to Black Mask, The Shadow, as well as numerous other top pulp titles, recalled:

“Pulpland seems a strange, purple-clouded island, in a warm sea somewhere far off, where some of the damnedest elves and goblins I ever met used to say and do strange things, especially when drunk.”

Thanks in part to the American Fiction Guild, a writer’s association which flourished during the 1930s, a great many of these writers and their editors convened for Friday luncheon gatherings at Rosoff’s restaurant on 43rd Street. They socialized, vacationed together, dated, and even married. It was virtually a subculture delineated and confined by a common vocational focus.

Others, scattered throughout the country, kept in touch by letter. But not everyone knew everyone else, except possibly by reputation.

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Ghosts and Death Songs on Mars: Under the Moons of Mars: New Adventures on Barsoom, edited by John Joseph Adams

Ghosts and Death Songs on Mars: Under the Moons of Mars: New Adventures on Barsoom, edited by John Joseph Adams

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Under the Moons of Mars: New Adventures on Barsoom (Simon & Schuster, February 2012). Cover by Mark Zug

Under the Moons of Mars: New Adventures on Barsoom has “Inspired by the work of Edgar Rice Burroughs” on the cover. I hesitated about picking this one up. A note on the back said: “Not licensed or authorized, or in any way affiliated with, Edgar Rice Burroughs, Inc.” This suggested some kind of controversy surrounding the publication and it seems awfully easy these days to step on toes and get hated for it. I don’t enjoy that kind of thing. But, it had stories by Joe Lansdale, Jonathan Maberry, and S. M. Stirling in it, and I knew all three of those could write. So I pulled the trigger.

Overall, I found the anthology enjoyable, and even though it seemed generally marketed for “teen” readers, the stories were far from simple and unsophisticated. I thought there were three particularly strong stories, as well as several others I liked a lot.

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From Decades of Robert E. Howard Scholarship: The Solomon Kane Companion by Fred Blosser

From Decades of Robert E. Howard Scholarship: The Solomon Kane Companion by Fred Blosser

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The Solomon Kane Companion by Fred Blosser (Pulp Hero Press, June 17, 2025)

If you’re familiar with Robert E. Howard Fandom, you already know who Fred Blosser is. I first encountered his work back in the early 1970s, when he was writing articles and reviews for Marvel Comics’ Savage Sword of Conan magazine.

For SSoC, Blosser authored well-researched articles about topics such as the Picts in Howard’s fiction, REH Fanzines, Howard’s Kozaks, and a history of Howard’s puritan adventurer, Solomon Kane.

Now Blosser has taken that last one much farther, producing a book called The Solomon Kane Companion, published by Pulp Hero Press, who kindly sent me a review copy. As I mentioned, Kane is a puritan, and his adventures take place in the Elizabethan era. He was created by Robert E. Howard while Howard was still in high school, and his first published appearance was in the August 1928 issue of Weird Tales, in the story “Red Shadows.”

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A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

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“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.
– Phillip Marlowe in Raymond Chandler’s The Big Sleep
(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Will Murray makes a return to A (Black) Gat in the Hand. Last month, Strand Magazine (who I wrote DVD reviews for in a prior century) published a lost Raymond Chandler story. Which got Will to thinking…

The recent discovery of a previously unknown and unpublished short story by Raymond Chandler reminded me of a question that’s lingered in my mind for a very long time.

How did Chandler in the early years the Depression support himself and his wife writing for Black Mask and other titles when he only sold a two or three stories a year?

Black Mask was then paying only a penny or a penny and a half a word for fiction to any but their top writers. Chandler was writing stories that were roughly 12 to 18,000 words long. He received $180.00 for his first sale, “Blackmailers Don’t Shoot.“ Even considering what a penny could buy in 1933, when a loaf of sliced bread cost 3 cents, Chandler wouldn’t have been able to survive solely writing for Black Mask.

It wasn’t until 1935 that he broke into Munsey’s Detective Fiction Weekly, which probably paid him two cents a word, and possibly more. A considerable raise, but still far short of what was required for subsistence living. And he only sold one story to DFW, “Noon Street Nemesis.“

Since Chandler had been a well-paid oil company executive until he lost his job in 1932, conceivably his savings carried him for some period. But according to Chandler biographer Tom Hiney, by the time he started working on “Blackmailers,“ Chandler’s savings had been all but exhausted. The story took him five months to write. Add another month or so until he received the acceptance check. So that’s $30.00 a month for six months toil, paid at the end of the six-month period. At his old executive position, Chandler’s salary had approached $10,000 a year.

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