Spaghetti Westerns Go Kaballah

I’ve known Ed Erdelac from New Pulp circles, but had never read any of his fiction before. Ed is a very talented author who has determined to carve out his own niche in the familiar sub-genre of spaghetti westerns. If one is to be accurate, spaghetti westerns were westerns of the 1960s and 1970s made by Italian filmmakers in Spain with international casts and international funding. They offered an avant-garde spin on westerns which were gritty, realistic, bloody, and notably laconic in contrast to the traditional Hollywood westerns which mythologized America’s past. Since the mid-1960s, Hollywood has occasionally offered up their own imitation spaghetti westerns right up to Quentin Tarantino’s acclaimed Django Unchained. Enter: Ed Erdelac. Ed wasn’t the first author to translate spaghetti westerns to the printed page. Sergio Leone’s Dollars trilogy inspired a Man with No Name literary series in the 1960s. However, he is, to my knowledge, the first author to put a Jewish spin on this very stylish sub-genre. While there was a tongue-in-cheek Jewish spy series in the 1960s, Erdelac isn’t interested in writing a kitsch genre spoof. The Merkabah Rider series is as deadly serious as it is eccentric and the dramatic tone makes all the difference to the book’s success. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE.

Sgt. Janus Returns

Jim Beard made quite a splash in the New Pulp community when he introduced an original occult detective character in Sgt. Janus, Spirit-Breaker in 2012. There has been a rich history of Holmesian occult detectives, but Beard appeared to have been the first to hit upon the brilliant concept of having each short story in the volume narrated by the detective’s client. It was a simple, but highly effective means of giving eight different perspectives on the character. Beard also took the unexpected decision to kill off his character at the end of the last story in the collection. Imagine if A Study in Scarlet had concluded at the Reichenbach Falls and you have a clear notion of what a bold and unexpected move it was to make for an author who had already managed to raise the bar in a genre that many believed had been exhausted of fresh ideas. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE.

The Return of Rick Steele

Last year was my introduction to author Dick Enos and his Rick Steele adventure series. I suspect this year will be the one where both author and character make real headway among fans of New Pulp. The fourth Rick Steele adventure, The Yesterday Men, was just published. If you’ve read the first three titles in the series, then you know Enos loves to confound reader expectations by delivering widely varying pulp adventures from alien invasion to the preternatural to lost civilization adventures. The Yesterday Men is both more of the same and something completely different. Rick Steele, for those unfamiliar with the character, is a hard-nosed Korean War veteran turned test pilot who somehow can’t avoid dragging himself and his supporting cast into adventures. Rick is a likable, but imperfect hero. The 1950s setting may seem like an odd one for New Pulp. It was the end of the era for serials and pulps alike, but it was also the Golden Age of Television and adventure strips were still the rage in newspapers. It was the era when the author adored Sky King and Steve Canyon in his formative years. It marked the final heyday of the innocence of American popular culture and the Rick Steele series captures this perfectly. Rather than crafting an idealistic vision of an artificial world (like so many 1950s sitcoms and movies did), the America of the Rick Steeleseries is one where darkness hangs around every corner. The characters don’t know quite what to make of it, but the reader is all too familiar with what is to come. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE.

Jack Ripcord and the Evolution of Pulp

Pulp fiction is alive and well in the new millennium as a niche market fed by reprints of classic pulps, revivals of countless public domain properties, licensed continuations that protect aging copyright claims, and even new pulp fiction cut from the cloth of the classic originals. The evolution of western hero to an archetypal pulp hero has happened once more in this fringe market in the case of western author Thomas McNulty. A veteran western writer in the Zane Grey and Louis L’Amour tradition, McNulty has made the transition from cowboy hero to pulp hero with his latest novel, Jack Ripcord. The title character for a planned trilogy of books, there is no mistaking that Jack Ripcord is an alter ego of the author from the cover character portrait to the way that the story functions as a synthesis of all of McNulty’s interests. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE ON FRIDAY.

Meet Rick Steele

So another season of pulp conventions has come and gone. As in the past, part of the fun of being able to attend conventions and meet people that share your passions and appreciate your work is meeting other authors you might otherwise have never chanced upon. Such was the case with Dick Enos at this year’s PulpFest in Columbus, Ohio. Mr. Enos is the author of the "Rick Steele" adventure series published by Mirror Publishing. Enos lists his principal influences as the long-running newspaper adventure strip, "Steve Canyon;" the Old Time Radio show and Golden Age television series, "Sky King;" and Mickey Spillane’s venerable "Mike Hammer." To continue reading this article, please visit The Black Gate.

Set Sail on the Waters of Darkness

"Waters of Darkness" is the new novel from David C. Smith and Joe Bonadonna published by Damnation Books. Longtime readers of my column will recognize Bonadonna as the author of the well-received sword & sorcery title, "Mad Shadows" and the recent space fantasy, "Three Against the Stars." David C. Smith will be familiar to Robert E. Howard fans for his series of "Red Sonja" novels in the 1980s. The shade of Robert E. Howard lingers over every page of "Waters of Darkness," the first collaboration by these two talented authors to see print. The principal characters, Crimson Kate O’Toole and Bloody Red Buchanan would have fit in nicely had this 17th Century swashbuckler first seen print in the pages of "Weird Tales" in the 1930s. A quest for fabled treasure sets these two buccaneers sailing for the Isle of Shadow in the far distant Eastern Seas. They find themselves combating an evil priest of Dagon and the sorcerer in his thrall along the way and most of the crew of the Raven pays the cost for their having crossed paths. This book is extremely fast-paced and is perhaps the new pulp title that most closely rings with the authentic flavor of classic pulp. It is not surprising since David C. Smith was always among the top echelon of Robert E, Howard pastiche writers and Joe Bonadonna has quickly established himself as a breath of fresh air in the new pulp world. Together the mixing of both men’s styles (classic pulp of the finest caliber with quirky and highly literate mixing of fantasy, hard-boiled humor, and an expansive cinematic vocabulary) produces what will doubtless be hailed as one of the finest new pulp titles of the year. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE ON FRIDAY.

Pro Se Presents – the Eclectic Voice of New Pulp

Pro Se Press is one of several New Pulp specialty small presses that have sprung up over the past few years to give voice to new writers. While Pro Se publishes pulp novels like their peers, they have largely set themselves apart in the field by also publishing a monthly print magazine, Pro Se Presents. Issue 15 was just published and presents five diverse examples of New Pulp from five very talented writers. The periodical is also published as an e-book each month and is affordably priced in keeping with traditional pulp titles of decades past – something most small presses are unable to otherwise do thanks to the economics of print on demand or small print runs. Sean Ali’s striking cover art and moody interior illustrations do an excellent job of capturing the unique feel of each tale. The magazine’s stellar editorial staff [Tommy Hancock, Lee Houston, Jr., Frank Schildiner, Barry Reese, and Don Thomas] has done an excellent job of capturing the mix of genres that were found under the pulp banner in the heyday of the 1920s and 1930s. From a modern standpoint, there is a bias to favor the superhero prototypes (such as Doc Savage, The Shadow, The Spider, etc.) or the more famous offshoots of the pulps, the hardboiled detective and the sword & sorcery barbarian hero. This tends to shortchange the many boxing stories, westerns, romances, and humorous tales that were also staples of the pulp world. Happily, Pro Se Presents restores this balance. TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE ON FRIDAY.

The Coming of Dorgo the Dowser

Growing up in the 1970s, the Ballantine editions of Edgar Rice Burroughs’ Tarzan series and the Ace Conan series were part of my steady diet. Seminal pulp fiction graced with stunning cover art by the likes of Neal Adams, Boris Vallejo, and Frank Frazetta. The cover art for the Conan books perfectly captured a bygone savage world that never existed in mankind’s past, but should have. While most Robert E. Howard fans have long since rejected these editions because of the sometimes gratuitous changes made to the original text, the impact of the Conan paperback series on the proliferation of the fantasy subgenre cannot be underestimated.

My own passion for sword & sorcery waned somewhere around the time that Robert Jordan took up his pen to tell bolder and ever more sweeping tales of the Hyborian Age for Tor Books that dwarfed the originals without ever capturing the same sense of wonder. I closed the book on that chapter of my life not long after starting junior high and never expected to revisit it. Flash forward to 2012 when I discovered Mad Shadows: the Weird Tales of Dorgo the Dowser by Joe Bonadonna and found that sometimes you can go home again.

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