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A Black (Gat) in the Hand: Will Murray on Dashiell Hammett’s Elusive Glass Key

A Black (Gat) in the Hand: Will Murray on Dashiell Hammett’s Elusive Glass Key

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Back in June, Will Murray donned his deerstalker and showed that Dashiell Hammett was not the author of “The Diamond Wager.” He’s back again this week with his magnifying glass out and looking into the origin of the title to Hammett’s novel, The Glass Key. Read on! And if you’ve not read The Glass Key (which is also a terrific movie starring Alan Ladd), you’re missing out on one of the best hardboiled novels written. The game is afoot (again)!

Back in the 1980s, I knew a pulp writer named Charles Spain Verral, who was perhaps best known for writing the Bill Barnes, Air Adventurer Magazine lead novels as George L. Eaton. Chuck told me an illuminating story about Dashiell Hammett that was circulating in the New York City literary scene during the 1930s.

Hammett needed an advance from Black Mask magazine, which editor Joe Shaw was willing to give on the basis of a title alone. Hammett came up with “The Glass Key.” And was stuck with it because in those days the magazine cover was printed a month or more in advance of the interior of the magazine, and The Glass Key was to be the cover story of the next scheduled issue. Compounding the problem, the serial was announced by that title in the issue preceding the one where it was cover-featured. Hammett was to write the novel in installments, with the first one appearing in print before he finished the work.

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Publishing Requires Patience

Publishing Requires Patience

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Image by Nile from Pixabay

Good… whenever you’re reading this!

As I’m prepping for the release of the serial I’ve written as a freebie to my readers (each chapter will be uploaded on Fridays on my blog once it’s ready to go), I’m struck for the first time in a long time how long a process publishing is. You see, I’ve been away from the scene for a long while now. The pandemic really did a number on me. In less than two years, I lost my job (ah yes, the great furlough), had to move, found a new job, and had to move again. That’s a lot of change in a very short amount of time, and it took me quite a while to adjust and settle.

In that time, I wrote very little. This was not for lack of trying. I wanted to write, but there was nothing coming. I know I’m finally settling in because I was finally able to write again. In the last two years, I managed to finish two manuscripts (the most recent one being the afore-mentioned serial). Both of these manuscripts will have, I hope, a very different publishing journey.

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A (Black) Gat in the Hand: Frank Schildiner on Solomon Kane

A (Black) Gat in the Hand: Frank Schildiner on Solomon Kane

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A couple weeks ago, I reposted James Reasoner’s excellent  ‘Discovering Robert E. Howard’ essay on REH and trail towns in his Westerns. Another Pulp-centric post from that series was from my New Pulp (and Solar Pons) buddy, Frank Schildiner. He wrote about one of my favorite REH characters, Solomon Kane.

There are a lot of Kane fans here at Black Gate. And for a couple years now, I’ve been trying to follow up ‘Discovering Robert E Howard,’ and ‘Hither Came Conan,’ with a multi-contributor series on Kane.

That Del Rey Solomon Kane volume pictured, is an absolutely terrific book, and it’s a shame more of the Kanes weren’t published during his lifetime. Take it away, Frank!

 

Solomon Kane. I can still remember when I first read the name. I was 11 and looking through books and comics at a flea market, my mother one row over looking through the Robin Cook section. I pulled a slim paperback from the pile, the cover showing a cold eyed Puritan staring at me with open condemnation (at least that’s how I interpreted the visual). But then I read the name… SOLOMON KANE. And there wasn’t a prayer on Earth of getting me to let go of this book that day.

And that first short story, “Red Shadows,” changed me forever. I became a fan for all things Robert E. Howard, but especially Solomon Kane. Caught by the enemy he’d chased from Europe into Africa, Kane looked up at this man he’d hounded relentlessly for years, and the following thought summed up why this hero became my favorite.

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Of Lies and Truth and the Personal Narratives We Weave Between: An Interview with Moses Ose Utomi

Of Lies and Truth and the Personal Narratives We Weave Between: An Interview with Moses Ose Utomi

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Moses Ose Utomi

Moses Ose Utomi is a Nigerian American fantasy writer, who weaves his unique cultural heritage with the academic chops an MFA in fiction from Sarah Lawrence College and a dash of the wandering martial artist, living extensively across the US (most recently Honolulu). His work has been published with Tor and Fantasy Magazine, among others, but his most successful work to date has been his debut novella, Lies of the Ajungo (which, I recently reviewed at Black Gate), and is the first part of a trilogy of exploring his unique secondary world, the Forever Desert. Moses was kind enough to meet up for a long, rambling Zoom interview, where we discussed everything from the novella and its sequels, to identity, the role of violence as means of society change, world-building, and how Moses ‘signal-switches’ in his mind when writing adult vs. young adult fantasy. There was a lot of great stuff, but I’ve tried to pair it down to the most best — suffice it to say that, as shows in his fiction, Moses’s thoughts range wide and deep and it was a great chat!

GM: Moses, thanks for doing this and thanks for writing such a great novella!

MU: I’m glad to be here and glad you enjoyed it!

So let’s get to it… there’s a lot packed into 88 pages including not one but two twists, the second ‘reveal’ which, I confess, hit me in the gut.

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Ten Things I Think I Think: October 2023

Ten Things I Think I Think: October 2023

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A (Black) Gat in the Hand takes a week off for a somewhat Robert E. Howard-centric installment of Ten Things I Think I Think. Books, television, movies, and even a computer RPG are in the mix today.

1) Jules De Grandin is a new favorite

Being a Robert E. Howard guy, I am familiar with Weird Tales – home to much of his best work, including Conan, Kull, historical fiction, and Solomon Kane, among much more. But not being into horror, I don’t really read anyone else from ‘The Unique Magazine.’

But I recently bought the audiobook for The Horror on the Links. It is Volume One of The Complete Tales of Jules De Grandin. A few stories have been a bit much for me in the macabre category, but Seabury Quinn’s doctor-former Surete policeman is an Occult Detective version of Hercule Poirot. I am absolutely loving the mix. I’m nearing the end of this collection, and I’ll be listening to Volume Two next.

De Grandin is a French transplant to fictional Harrisonville, New Jersey. His Watson is Dr. Trowbridge, and they investigate both cases that have natural, as well as supernatural, solutions. Each audiobook is about 25 hours long, which is a lot of entertainment. Paul Woodson does a great de Grandin. There are over 90  stories – including one serialized novel. As a Poirot fan, I’m totally in on these. I’ve been kicking around the idea of a de Grandin/Nero Wolfe crossover.

 

2) “The Horror from the Mound” is Quite a Story

Sticking with horror, I was hoping to have an essay ready today for Robert E. Howard’s “The Horror from the Mound.” It’s a (then) contemporary Weird Western which also appeared in Weird Tales. I’d read it before, and with one foot in ‘today’ and one firmly in the mid 1600s, may be my favorite REH horror story. Still working on the essay.

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Viy by Nikolai Gogol

Viy by Nikolai Gogol

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daguerreotype of Gogol

Viy is the colossal creation of the common folk’s imagination. The Little Russians (Ukrainians) use this name for the chief of the gnomes, whose eyelids on his eyes reach all the way to the ground. This whole story is a folk legend. I did not want to change anything about it, so I am narrating it in almost the same simple form which I heard it.

Nikolai Gogol, footnote to “Viy“

None of that is true. There are no Slavic folkloric sources, Ukrainian or otherwise, describing a gnome king, let alone one with great, drooping eyelashes (The name Viy appears derived from the Ukrainian word for eyelash). Some have claimed a Serbian connection, but that appears to be false, as well. Nonetheless, Gogol’s story of a monk, a witch, and Viy has become so deeply embedded in Russian and Ukrainian culture that many people believe the terrible creature is a real part of those countries’ folklore.

Nikolai Gogol was one of the greatest Russian writers and simultaneously the greatest Ukrainian writer (though, he didn’t write in Ukrainian and both nations have fought over his legacy). Born in Sorochyntsi in 1809, a Cossack town between Kyiv and Kharkiv and over a hundred miles from each. He died in 1852 by starving himself to death during a period of extreme religious asceticism. Before he became famous for absurdist stories like “The Nose” or sharp-eyed satires like his play The Inspector General, he wrote a series of stories that drew on his youth in the Ukraine and its customs and legends. From St. Petersburg where he had moved and gained the friendship of such luminaries as Alexander Pushkin, he would write to his mother asking for descriptions and details about all manner of information on the Ukraine.  “Viy” is one of those early stories, first appearing in his 1835 collection, Migorod, alongside the Cossack epic, “Taras Bulba.”

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A (Black) Gat in the Hand: James Reasoner on Trail Towns in the Traditional Westerns of REH

A (Black) Gat in the Hand: James Reasoner on Trail Towns in the Traditional Westerns of REH

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REHWesterns_Cover
Intro by James Reasoner…

The first big series I did here at Black Gate was Discovering Robert E. Howard. And I was excited to get one of my favorite Westerns writers, the beyond-prolific, James Reasoner, to talk about REH’s Westerns. Continuing on with our recent Westerns theme, here’s James’ essay on trail towns in REH’s traditional Westerns. Saddle up and hit the trail!

 

When Robert E. Howard was growing up in Cross Plains in the 1920s, it was entirely possible that some of the older men in town might have gone on cattle drives in their youth, as the great trails from Texas to the railheads in Kansas opened up after the Civil War and changed the focus of the Lone Star State’s economy. Whether a young Bob Howard ever listened to these old cowboys spin yarns about those days, we don’t know, but he certainly might have.

J. Marvin Hunter’s classic book Trail Drivers of Texas appeared in 1927, and this volume might well have caught Howard’s interest, too, although we have no record of him ever reading it.

What we do know, however, is that Howard wrote several Western stories in which the trail towns which served as destination points for those great herds of Longhorns play an important part, beginning with “Gunman’s Debt”, which went unpublished during Howard’s lifetime but is one of his best Westerns. It’s set in the small Kansas settlement of San Juan, and although Howard tells us that the rails and the trail herds haven’t reached it yet, it’s clear that they’re on the way. San Juan is new and raw and more than a little squalid:

Three saloons, one of which included a dance hall and another a gambling dive, stables, a jail, a store or so, a double row of unpainted board houses, a livery stable, corrals, that made up the village men now called San Juan.

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A (Black) Gat in the Hand Turns 100!: Erle Stanley Gardner’s ‘Getting Away With Murder’

A (Black) Gat in the Hand Turns 100!: Erle Stanley Gardner’s ‘Getting Away With Murder’

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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)

And A (Black) Gat in the Hand turns 100 today. With help from some friends, this column has managed to offer a hundred essays on the fascinating world of Pulp. April 8, 1949 was the day the Pulps died (I think that American Pie is one of the greatest songs of all time – couldn’t pass up the reference – with a tip of the fedora to William Lampkin for the phrase). On that day, Street & Smith announced they were quitting the Pulps. My favorite, Dime Detective, straggled on into 1952. But the days of the Pulps were effectively over.

But the love of Pulps lived on. Back in May of 2018, I kicked off my weekly Black Gate column as follows:

“Working from Otto Penzler’s massive The Black Lizard Big Book of Pulps, we’re going to be exploring some pulp era writers and stories from the twenties through the forties. There will also be many references to its companion book, The Black Lizard Big Book of Black Mask Stories. I really received my education in the hardboiled genre from the Black Lizard/Vintage line. I discovered Chester Himes, Steve Fisher, Paul Cain, Thompson and more.

With first, the advent of small press imprints, then the explosion of digital publishing, Pulp-era fiction has undergone a renaissance. Authors from Frederick Nebel to Raoul Whitfield; from Carroll John Daly to Paul Cain (that’s 27 letters – we went all the way back around the alphabet – get it?) are accessible again. Out of print and difficult-to-find stories and novels have made their way back to avid readers.”

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Marketing is Hard, BookTok is Harder

Marketing is Hard, BookTok is Harder

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Good Afterevenmorn!

I’m back at it with the mentions of BookTok, largely in part because this is a (relatively) new-to-me social media site, and I’m still trying to plumb its depths and unravel its mysteries. Right now, all I’ve managed to do is upload a few vids that are largely trying out silly filters and somehow turn my ‘For You Page’ into nothing but Astarion (from the Baldur’s Gate 3 game that was recently released) thirst traps.

You like one funny video…

In any case, I understand that it can be an incredibly powerful tool in getting a readership — which I so desperately need if I have any hope of making any kind of living from my writing. BookTok is such a powerful player in the publishing world that brick-and-mortar stores often have a table near the front door devoted to books that have popped off on the site. Conquering BookTok is now one of the best ways to acquire that much-needed readership.

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A (Black) Gat in the Hand: William Patrick Murray on Cross-Genre Confusion, and Supernatural Westerns

A (Black) Gat in the Hand: William Patrick Murray on Cross-Genre Confusion, and Supernatural Westerns

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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)

Last week was part two of  fellow Robert E Howard Foundation Award-winner John Bullard’s look at Robert E. Howard’s humorous Westerns. Earlier this summer, Pulp maven (and fellow Sherlock Holmes afficionado) William Murray revealed right here in this column, that Dashiell Hammett did not actually write “The Diamond Wager/” Will, who has written about Doc Savage, and The Spider, for A (Black) Gat in the Hand, is back at it again. 

Will – who has written THE look at Western pulps – Wordslingers: An Epitaph for the Western – takes us into the world of Weird Westerns. It’s no surprise that Pulp editors were leery of ‘crossing the streams’ for these types of stories. Read on!

Cross Genre Confusion

In the beginning, the pulp magazine was an undifferentiated product.

Starting with the first of its type, The Argosy, it was essentially a colorful cornucopia of fiction, much of it belonging to no particular category. Stories of city, farm, and tenement life were common. Yarns set in the half-tamed West were not always gunsmoke sagas, but simply narratives set in the contemporary West. Historical tales were also common. As were simple homespun comedies. Many were quasi-adventure stories of men at their work. Thus we often discover coal mining episodes, off-field yarns, and Mountie exploits.

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