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Reviews from the 86th Floor: Book Reviews by Barry Reese

DRACULA LIVES by Joshua Reynolds
2010
ISBN 978-1452817453

This is one odd book — while the cover and title would lead you to assume you’re about to embark on a Hammer Horror-style vampire story, most of the book is actually an homage to classic spy novels. The main character, Mr. Cream, is hired to locate and acquire a casket that he eventually learns contains the remains of Dracula. I’ll be up front and say that espionage novels are not generally my cup of tea. I’ve read the original James Bond stories and found them to be a bore. The Man from U.N.C.L.E. does not intrigue me. So Josh was attempting to mesh a genre that I don’t care about (espionage) with one that I do (horror).

Cream comes across as a very vividly described character and the author does a tremendous job of conveying who this individual is and how he behaves. Cream is so well defined that the reader feels like they can predict how he will behave in different situations, which is a credit to the author.

The strength of the story — and the greatest weakness — comes from the fact that the book is dialogue driven. When this works, the playful back and forth between characters seems like an elaborate verbal dance. Unfortunately, there are times in the book where it feels like one talking heads piece after another, occasionally broken by someone getting shot. Even during some scenes that I was enjoying, it was in the back of my head that I was growing a bit weary of people sitting in chairs, facing one another, showing me how clever they can be.

This is the first book in a proposed trilogy and I found the first book interesting enough to be curious where it will go from here but I did find it a flawed work.

I give it a 3 out of 5.

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MOONSTONE CLIFFHANGER FICTION-NEW STORY TODAY!

Moonstone Books and ALL PULP are proud to present the first chapter in a new tale from MOONSTONE CLIFFHANGER FICTION!!!!

Let ALL PULP know what you think of MOONSTONE CLIFFHANGER FICTION on the Comments Page!!!
Want more Moonstone??? http://www.moonstonebooks.com/ !   And stay tuned at the end of this week’s chapter for a link to purchase the collection this story is featured in!
THIS WEEK ON MOONSTONE CLIFFHANGER FICTION-
THE CLAWS OF THE CAT
BY RON FORTIER
featured in DOMINO LADY: SEX AS A WEAPON
from Moonstone Books
dlcoverjb-6334033

The Claws of the Cat
by Ron Fortier
Chapter 1

“They stole a what?” Ellen Patrick sputtered, getting fresh squeezed orange juice up her round, perfectly shaped nose. She began to cough and had to set the glass down on the stand next to her bathtub where she had been luxuriating when the irksome telephone rang. At first she gave some serious thought to ignoring it altogether. Its delicate, customized tones sounding as intrusive as any typical phone. And just as persistent. Still, to be interrupted in the middle of her bubble bath was nothing less than a capital offense, in her humble opinion.

When the voice on the other end turned out to belong to Maxwell Campion, star reporter for the Los Angeles Sentinel, she was somewhat placated. Max was a devilishly handsome fellow in his own roguish way, what with his wavy dark brown hair, trim mustache, and tall, slim masculine physique. They had met in Berkeley during their college days. Besides a major in journalism, Campion was also star quarterback for the football team. The lovely Miss Patrick of course was the lead cheerleader. They had dated often.

“Max darling!” she squealed delightfully while running a sponge over a long, shapely leg rising out of the clouds of floating bubbles. “It’s been ages, lover. What’s been keeping you away from my doorstep?”

At which point a laughing Campion had begun relating the story of a string of robberies that had been plaguing Hollywood recently. The police were baffled. It seemed a group of criminals had targeted the rich and famous of the district in their heists of a particularly peculiar nature.

Ellen picked up the half finished glass of cold juice and began to sip after asking the loaded question, “What’s so strange about these robberies?”

Then, as the chilled, sweet liquid was splashing against her throat, Max Campion voice replied, “The hoods are stealing cats.” Which was when Ellen choked.

“Hey, you all right, Ellen?” Max’s voice was sincerely concerned.

“Sorry,” Ellen managed to gasp. “I swallowed the wrong way.”

“What, a champagne breakfast pick-me-up?”

“Very funny, but no. If you must know I was enjoying some fresh squeezed orange juice while taking a bubble bath.”

There was a pause on the line and Ellen wondered if they’d been disconnected. “Max? Are you still there?”

“Oh, I’m here,” he responded. “I just had a wonderful mental image of you covered only by bubbles. Now that’s something I’d like to squeeze.”

“Still the same old dirty-mind, lover,” Ellen laughed.

“I thought that’s why you liked me, sweetheart.”

“Be that as it may, Mister Campion, can we please get back to the reason for your call. You are serious about someone stealing cats?”

“On my boy’s scout honor. Been going on for about two months now. All total four have been snatched.”

“Funny, I don’t remember reading anything about this in the papers.” Ellen scrunched her pretty face as she tried to recall the last week’s worth of local headlines.

“That’s because the cops don’t want us to write it up and all the animals have been safely returned, except for the one taken yesterday.”

“Really. You say all the cats were returned.”

“Uh-huh. Seems each of the victims paid off the ransoms promptly and actually got the little critters back safe and sound.”

“How much was the ransom for?”

“Well, that’s the other odd thing. Like I said, all these folks were the well-to-do around town. They all have bank accounts that would make the King of Siam jealous. But in all the heists, all the cat-nappers wanted was a few thousand bucks.”

“That is strange.”

“Oh yeah. Problem with the cops was each of these past victims didn’t report the crime until after they’d paid the ransom and reclaimed their pets. You can bet the coppers were none too happy about that. That’s why they want the lid kept on.”

“Okay, Max, it all sounds perfectly bizarre, but you still haven’t told me why this would be of interest to little ole me? I don’t even like cats, let alone own one.”

“No, but your big time charity matron does and had her precious fur-ball snatched yesterday morning in the park just outside her apartment.”

Ellen sat up in the tub, her playful banter forgotten, as she clutched the ivory handle receiver tighter. “Who was it?”

“Constance Miller. From what I hear she’s a mess along about now and could probably use a friendly shoulder to lean on.”

********

One hour later, the elevator doors opened on the fifth floor of the Palisades Tower and through them emerged a vision of patriotic splendor. Ellen Patrick had finished her bath, dried off and finished her toilette by adding a judicious amount of talcum powder and then applying a generous dose of expensive French perfume. Once done, she chose a particularly bright outfit that would help cheer her friend, Constance Miller.

Her hourglass figure was poured into a navy blue dress that barely touched the tops of her lovely knees. Her stocking feet moved gracefully into red velvet pumps with three-inch heels and a slim ankle strap. This cherry hue was matched by three other spectacular accessories; a big, wide belt, a cocky little hat riding atop her curly blonde tresses, and last but never least, her heart-shaped, bee-stung lips. Added to this ensemble were a small white handbag and a matching silk scarf giving her the appearance of an ultra-chic beauty draped in the American flag.

As she walked through the long corridor, the elevator operator and his remaining two male passengers were unable to take their eyes off her winsome shape, the hips rocking provocatively from side to side with each balanced step of her high heels. And for all her doll-like appearance, there was a distinct purpose to her walk that belied a hidden strength beneath a superficial exterior. There was a lot more to Ellen Patrick than met the eye, although what met the eye was altogether memorable as well.

As Ellen neared apartment 521, she encountered a group of uniformed police officers all milling about the open door to the suite. She didn’t pause a second and continued to move past them as if they weren’t even there. Of course they noticed her, and then some. For the most part they parted out of her way, their chattering stopped by her presence and obvious effect on them.

“Excuse me, ma’am,” a burly, square-jawed sergeant appeared in front of her, arms folded over his chest, effectively blocking entry. “And where do you think you’re going, now?”

“Good morning, Sergeant,” Ellen smiled her most charming smile. “I’m here to see my friend, Mrs. Miller. If you’ll kindly step aside and allow me to proceed.”

Everyone in the hall watched silently wondering who would win the confrontation, the lady or the bulldog copper? The decision was taken out of their hands by a familiar voice inside the rooms.

“Clancy, let the lady in. She’s okay.”

The seasoned cop looked over his shoulder, shrugged, then stepped aside with a barely heard grunt.

“Thank you,” Ellen said sweetly as she moved passed him. “You’re a dear.” That last jibe was for the benefit of his men, still gathered about and they immediately broke out into loud, raucous laughter. Clancy’s face turned a nice shade of pink.

“Detective Bishop, isn’t it?” Ellen had identified the young investigator’s voice immediately.

“Hello, Miss Patrick. Nice to see you again,” the handsome, sandy-haired detective smiled, his boyish good looks beaming.

“What, no Inspector McCarty?” Ellen knew the lanky, 5’ 10” Bishop was usually following after her friend’s coat tails most of the time.

“Actually, I’m in charge here,” Bishop announced proudly, his chest almost rising as the words came out of his mouth. “It’s my first big case.”

Looking up at him, Ellen cocked a pretty eyebrow realizing what the naive Bishop hadn’t. The cat snatchings were not a top priority to the downtown brass. The mere fact that they’d assigned it to the rookie was evident of that. But Ellen did not wish to belittle the earnest fellow and decided her own plans would be best served by her appearing noticeably impressed.

“Well, how exciting, Detective. I’m sure you’ll solve the case in no time at all.”

“Hmm,” Bishop’s face took on a sour note as he tipped back the brown fedora on his head. “I sure hope you’re right, Miss Patrick. The kidnappers haven’t made any calls yet.” He indicated a small writing table in the corner of the spacious, lavishly appointed living room. There, two older detectives, their jackets off, sleeves rolled up, were sitting around a telephone wired into another twin box receiver whose line ran into earphones draped around one of the bulls.

“As soon as they do, we’ll be able to get a trace on them.”

“I see,” Ellen nodded approvingly. “Tell me, where is Constance… ah… Mrs. Miller. I came here to give her some moral support.”

“Oh, right. Mrs. Miller is really busted up about losing her cat,” Bishop elaborated. “Her doctor was here last night. He gave her something to calm her nerves a bit. She was a real mess when we got here yesterday afternoon.”

“I wish I’d heard about it sooner myself,” Ellen confessed, biting her lower lip gently.

“Say, how did you get wind of this?” Barney Bishop was suddenly all detective. “No one was supposed to know about these pet abductions.”

“Relax,” the brown-eyed temptress said, patting Bishop’s arm like a big sister. “For all its stars and money, Hollywood is still a small community, honey. There was no way this was going to stay a secret for very long.”

“I guess you’re right. Still, if McCarty and the Chief get wind of this, it won’t look good for me.”

“You have my solemn vow, I won’t say a word of this to anyone.”

“Thanks, Miss Patrick, I appreciate that.” He reached into his jacket pocket and withdrew a packet of Beaman’s. “Would you like a stick of gum?” he asked, as he slipped one out for himself. It added to his childlike charm.

“Ah, no thank you. May I see Mrs. Miller now?”

“Right,” Bishop pointed to the door beyond the grand piano, as he began chewing the gum. “She’s in her bedroom.”

“Thank you.”

**************

At the door, Ellen knocked and called out, “Hello, Constance. It’s Ellen Patrick. May I come in?”

“Ellen!” The door flung open and the stout, weary Constance Miller, attired in an oversized, purple bathrobe, stood looking a frightful mess. Dried tear tracks lined her cheeks and her eyes were still puffy and red. “You’ve come.”

The rich widow threw her arms wide and gave her young friend a desperate hug. “Oh, Ellen, it’s been awful. They took my precious Snowflake.”

“I know, dear,” Ellen said, disengaging herself. “Come, let’s sit down. You poor thing, you look a fright. Have you had breakfast yet?”

As they walked back to the bed and the stuffed chair beside it, Constance indicated the rolling cart with the silver tray. “They brought it up a little while ago, but I simply don’t have any appetite.”

The big woman sat back on her unmade bed and reached over to a framed picture on the night table next to an expensive porcelain lamp. It was of Snowflake. “My poor baby. What have they done to you?”

Ellen put down her purse and lifted the food cover to reveal bacon and eggs and two slices of buttered toast. There was a glass of orange juice and next to this a carafe of coffee. She began to pour some of the black liquid into a small, china cup. “Here, at least have some coffee, then we’ll see about getting some of this food into you.”

“Oh, it’s so horrible,” Mrs. Miller sobbed, “I don’t know what I’ll ever do without my precious Snowflake! She’s a pure white Persian. Did you know that?”

“No, I didn’t,” Ellen said, taking the photograph from her friend’s hand and replacing it with the hot coffee. “Here, come now. Drink a little. It will make you feel better.”

“You don’t have any pets, do you, dear?”

“No,” the lovely blonde answered, removing her cap as she reclined in the straight-back chair. She crossed her lovely legs and looked at the picture. “You got her right after Harry died, didn’t you?”

“Yes, she saved my life, Ellen.” Mrs. Miller took a sip of coffee and sniffled slightly. “If it had not been for my Snowflake, I might have gone mad with loneliness.”

Ellen Patrick thought the world of Constance Miller and she hated seeing her is such a distraught condition. But for the life of her, she simply couldn’t understand the time, love, and attention people like Constance could give a dumb animal. Many of her rich associates treated their pets better than some people cared for their own children. They spent extraordinary amounts of money on toys, gourmet food, and sleeping beds. So, although she couldn’t fathom the relationship herself, it was no surprise to Ellen that someone with a criminal frame of mind would resort to kidnapping, or “catnapping” as the case may be, the beloved pets of wealthy high society patrons. Not only would it guarantee these nefarious criminals a healthy ransom, but they had to know the police department would give them very little attention.

“Well, I’m here now, dear,” Ellen smiled happily to see the older woman finishing her drink. “So why don’t you tell me all about it. And take your time. I want to know the entire story.”

For the next ten minutes, between bites of food, Constance Miller composed herself enough to relate the events of the previous day. As was their routine, the hotel doorman always took Snowflake for a walk in the park after lunch. It was there he was assaulted by two men who knocked him down and ran off with the pure white cat.

“Did the doorman give the police a description of the two men who attacked him?” Ellen asked when the story was finished.

“Indeed, the poor man. He was in such a stupor when I came home. Kept saying it was all his fault and he should have been more careful. The hotel manager sent him home and told him to take today off.”

“And you’ve received no ransom note yet?”

Constance Miller’s eyes seem to freeze. She looked toward the door to the living area and then leaned over towards Ellen and whispered. “Shhh… you must be quiet.”

“What?”

“This was folded in the front page of the morning paper that came with the food tray,” Miller explained as she withdrew a small, folded piece of paper from her bathrobe. She handed it to Ellen Patrick. “I haven’t told Detective Bishop about it yet.”

Ellen’s eyebrow arched as she opened the note and read it. In block letters, the note ordered the wealthy widow to bring ten thousand dollars to a garage in West Hollywood at midnight that evening. She was to come alone or the cat would be destroyed. The address for the rendezvous was written beneath the instructions. Ellen was familiar with the area.

“Oh, Ellen, I couldn’t tell that nice Detective Bishop. The note says I’m not to inform the police, and that I have to bring the ransom alone. Oh, what ever shall I do?” Mrs. Miller put a hand over her heaving bosom, exasperated. “I don’t even drive.”

“Relax, Connie,” Ellen advised, folding the paper and tapping it on the knuckles of her hand. “You won’t have to.”

“I don’t understand? What do you mean?”

“Do you have the money?”

“But of course. I can draw a check for it this second.”

“Then do so and make it out to my name.”

“But why… oh, no, Ellen. I can’t ask that of you? It’s much too dangerous.”

Ellen Patrick shrugged. “No more than a late night dinner date with half a dozen studio lotharios I’m acquainted with. And lord knows I’ve survived enough of those. Ha!”

“But sweetheart, these are brutish criminals capable of anything.”

“They only want money, Constance. If what Bishop told me is true, I’ll have your Snowflake back safe and sound before you know it.”

Constance Miller’s face was filled with concern for her friend. “Very well, Ellen. But you must promise me you’ll be extremely careful. If anything were to happen to you on my account, I could never forgive myself.”

“Don’t worry, I’ll be the model of caution.” Still, even as she said the words, Ellen Patrick could not disguise the merry twinkle in her eyes. She wondered what Constance would have thought had she realized she had just acquired the services of Hollywood’s most famous celebrity, the Domino Lady.

 

Chapter Two

After leaving Mrs. Miller, Ellen Patrick drove to the First Bank of Hollywood, cashed the check, and left for home with a bag full of money. She put the green burlap sack into her bedroom wall safe and then sat down to plan her strategy. Since it was midday and the money drop was not scheduled until midnight, she saw no reason to curtail her planned activities. Her biggest challenge would be how to keep her anxiety in check until then.

Luckily one of her sorority sisters, Dolores Colquitt, was in town and the two of them were to have lunch together at the Brown Derby. Dolores, who had moved to New York after graduation, was now romantically involved with the famous detective-adventurer, Jim Anthony. The blonde, blue-eyed socialite was in town on business and Ellen was thrilled to see her again. Catching up would be great fun and hopefully take her thoughts away from what the night would entail.

********

It was ten minutes of twelve when the beams from Ellen Patrick’s sporty Auburn Convertible Cabriolet fell on the darkened Sunoco sign centered above the small gas station at the end of Dawson Street in West Hollywood. It was a residential neighborhood covered with white plaster houses that all looked the same, their roofs shielded with red Spanish tiles. Except for a solitary streetlight on the far corner, the place was painted in shadows.

The garage wasn’t anything out of the ordinary. Two gas pumps stood like silent sentinels near the quiet, empty boulevard. Behind them, the storefront was situated between two closed-up working bays. There was a stack of old tires to the right of the building and beyond them several autos in various stages of disrepair. The dirt road skirted around the building in a half loop and Ellen had a hunch that was where the cat-nappers would be waiting. She parked her car, shut off the lights and the engine. A full white moon was moving through an almost cloudless sky and illuminated the station all around her.

Now it was wait-and-see time. Ellen smoothed her green skirt and drummed her fingers on the steering wheel. Beside her on the passenger seat was a wire-mesh animal cage. On top of the cage was the moneybag.

“Alright, lady, you can get outta the car,” a gravely voice barked from the shadows behind the garage.

Ellen took a deep breath and climbed out into the warm night air. In her arms was the burlap sack.

“Where are you?”

“Over here, in the back.” A flashlight beam winked on and stabbed at her face. She blinked and tried to cover her face. Ellen was wearing a matching toreador jacket the same color as her skirt and soft leather gaucho boots. On her head was a flat-brim pillbox hat of the same green shade. Her long flowing hair was tied in a severe bun behind her head. It was all an illusion of appearance. She did not want these characters to remember her long, yellow tresses.

“Hey! You ain’t that Miller dame!”

“How astute of you,” Ellen said dryly, free hand still in front of her face. “Can you please shut that thing off or get it out of my face?”

The light moved to the ground as hoods materialized before her. Through the fading spots in her eyes, she identified two big men, similarly dressed in stylish suits and wearing wide brimmed hats. The one to her left had a mean scar over his right cheek and was holding a .45 automatic in his hand. It was pointed at her and he looked very upset. The fellow on the right had a brush mustache and thick eyebrows. In his hands was a balled up cat.

“The Miller dame was to bring the cash,” the gun-wielder repeated. “No one else!”

“You must be joking,” Ellen chuckled. “Have you ever seen Constance Miller? There is no way in heaven she could make it out here in the middle of the night like this by herself. And what difference does it make?” The pretty blonde lifted up the sack. “I have your money right here.”

The man with the gun looked confused, but his gaze was clearly on the bag. His partner, petting the sleeping feline looked from Ellen to his pal anxiously. “Aw, come on, Eddie. She’s got the dough. Let’s just give her the damn cat and get out of here before a radio car goes by.”

Eddie made a grimace and shook his head reluctantly. “Alright. Alright. Give me the bag.”

Ellen approached him calmly and handed over the heavy sack. Ten thousand dollars was not light pocket change.

“It better be all here,” Eddie warned hefting the sack while at the same time putting his gun away in a shoulder rig. “Okay, Jack. Give her the cat.”

The second hood gently handed Ellen the dozing Snowflake. “She’s just sleeping.”

“Thank you.” Ellen cradled the cat in her arms. The animal moved its head, opened her eyes, looked up at her and then snuggled back into the crook of her arm.

Eddie had opened the top of the sack and was shining the flashlight into it, an ugly smile spreading over his face.

“Can I go now?” Ellen asked.

“Sure, doll. Beat it. And tell your friend not to go blabbing to the coppers if she knows what’s good for her.”

“I’m sure,” the blond sneered as she returned to her car. Once inside she carefully placed Snowflake into the cage before starting her engine. When she turned on the headlamps, both men were gone. They must have their automobile parked in the back, she surmised as she stepped on the gas and rolled onto the deserted road.

Ellen raced down the street to the corner, spotted a billboard and quickly pulled off the road and rolled to a stop behind it. She shut off her lights but kept the engine purring. From where she was parked, she could look into the rearview mirror and see the gas station. She crossed her fingers that the hoods hadn’t departed while she was finding this hiding spot. A few minutes ticked by and then headlights cut across the dark street from behind the garage. A gray Buick sedan appeared and turned in her direction. Ellen let out a sigh. She took her foot off the brake and allowed the Cabriolet to roll forward a few more yards wanting to make sure she was not visible when the crooks drove past.

The sedan rocketed by and she counted to five before putting on her lights again and returning to the road. She could just make out the receding glimmer of the car’s lights as it headed into the distant landscape that was the Beverly Hills countryside. She fed gas to the Auburn’s efficient engine and took off after the unsuspecting pair. As she drove along, maintaining a good distance between them, Ellen pondered over events back in the gas station lot. It was obvious that Eddie and Jack between them didn’t have a single working brain cell. They were hired thugs doing the bidding of a third, as yet unknown, party. But who was that person and what was the real purpose behind the cat-heists? Again the logic was skewed in that any of the victims, to include Constance Miller, would have paid three times the ransom that had been demanded of them. If the crimes were solely for monetary gains, then the requested sums just didn’t make any sense at all.

Digging into her purse set on the dashboard, while steering with one hand, Ellen pulled out a pack of cigarettes and using her mouth, tugged one free. Using the same hand, she fished into the purse and found her silver plated lighter, the one with the domino design on it. Lighting the smoke, she had a thought that some day car manufacturers would be smart to install battery charged lighters into their consoles. It sure would make things easier for people to light up while driving.

There was little traffic through the rolling hills at this late hour and Ellen had no trouble following the Buick as it wound its way further from the center of the famous community with its million dollar mansions. Eventually the scenery opened to long empty stretches and she started wondering how much further she was going to have to drive. No sooner had the thought crossed her mind than the lights in front of her veered off the road and disappeared. Ellen sat up straighter and slowed down as her car went past a dirt road by which a sign was erected: Carson Lumber and Construction. She spotted the gray Buick rolling through stacks of cut timber and hastily pulled off the road. Through the trees, she could just see the sprawling lumberyard beyond. There were several huge structures at the middle of the site and it was amidst these that the gray car had disappeared. In the stillness of the night she could hear the slamming of car doors. So, they had reached their destination. What came next was going to be the tricky part. But she still felt confident that with just the right amount of courage, and a little luck, she could pull it off.

Now stealth was called for and her headlamps were again extinguished. She shifted into reverse and carefully backed up along the road and into the dirt entrance. The moonlight was sufficient enough for her to carefully weave her way past several rows of hewn lumber rising to twenty feet on both sides of the road. She was approaching the yard’s buildings and deftly eased the little convertible backward into a gap between two towers of planks.

Two minutes later she was standing beside the open car door and preparing herself for action. She hastily removed the short jacket and threw it into the back seat. This revealed her tunic to be the top of a satin white evening gown that exposed her pink arms and was cut daringly low in the front. Next she unclasped a button clip on her dark gown and peeled it off her hips. Off came her boots to be replaced by silver pumps with two-inch heels. Generally she preferred sexier stilettos, but a crime-fighter had to be practical as well as smartly outfitted. She picked up her reversible dress, spun it inside-out and refastened it around her tiny waist. Voila, she was now attired in a flowing white gown to match her top; with two long slits along the sides that revealed her graceful legs as she moved.

Finally she unhooked the pins in her hair and shook it free to cascade down her bare shoulders. Ellen’s hair curled at the ends and was a distinctive trademark of the persona she was now adapting. From behind the driver’s seat, she produced a black cape, throwing it over her bare shoulders and from the car’s glove box the last two items to complete her transformation. One was a black domino mask that fitted snuggly about her eyes and the last was a small, silver-plated automatic with a six-round clip.

“This shouldn’t take long, Snowflake,” she told the sleeping cat.

Ellen Patrick had driven into the lumberyard. Now the Domino Lady was on the prowl.

THE END OF PART ONE OF THE CLAWS OF THE CAT!!
Want more Domino Lady?  Then order the collection that includes this story today at http://moonstonebooks.com/shop/item.aspx?itemid=104!!
And tune in next week for Part Two of this tale from MOONSTONE CLIFFHANGER FICTION!

The Best Present You Can Give A Kid This Year

longbox-3454592

This is a longbox full of random comics. Your local comic book store has tons of them– various stuff he’s picked up and hasn’t filed yet, or overstock that he couldn’t sell, or low grade books, what have you.

My father used to go to Port Comics, a little store off of exit 64 of the Long Island Expressway (the same store where I first met Tom Brevoort, when we were both young punk fans) and every so often he’d buy a longbox or two from Bill the owner and give them to me.

And as you’d expect from someone who now runs a site like this, I devoured them. I had no idea what I might find– DC horror books, Marvel reprints, Archie superhero titles. Didn’t care. It was all new to me, it was all neat to read, and it got me discovering wondrous stories and characters and art and more, and getting even more involved in a medium that I loved.

And right now, you can probably pick up one for around $30 and give it to a kid this holiday season. Or you can wait until he’s home sick with a bad cold this winter and give it then, when he’ll have time to read. Or drop it off at your local Toys For Tots drive, and imagine the look on the volunteer’s face who first tries to pick it up.

So go to your local comic store and ask for a longbox or two filled with random stuff. Be sure to ask for few duplicates, you don’t need 200 copies of Spawn #1. If you don’t know where your nearest comic store is, go to the Comic Shop Locator to find out. Or go to eBay and search for “comic lot” and find something in your price range.

Just be prepared to answer questions:

“Who’s this Darkhawk guy?”

“Where does the Black Widow know Daredevil from, I thought she hung around with Iron Man?”

“How does Cosmic Boy keep his uniform up?”

And hopefully you’ll get the best question of all– “Hey, when can I get some more?”

MOONSTONE MONDAY- Artist Silvestre Syzilagyi interviewed!!

Silvestre Syzilagyi-Artist, Moonstone

AP: Silvestre, thanks for taking time to sit down with All Pulp.  Before we jump head first in, how about telling us a little bit about yourself?

SS: I’m just a guy who loves drawing cars, trains and telling stories
in comic book form, but I love all kind of story-telling, mainly with
images (Movies, TV Shows, even some advertisement.) I’ve been drawing
ever since I was a kid, and began drawing amateur at thirteen and pro
at twenty, in local companies, in Argentina.

AP: What inspired you to become an artist? Who or what styles have
influenced your work the most in your career?

SS: Mainly (Carmine) Infantino’s Flash 113 (the first one I’ve got) and Gil Kane-Murphy Anderson’s Green Lantern 4 (got it together with Flash 113), both in Mexican editions. Plus James Bond’s Dr. No and
Goldfinger. Though I’ve been trying to do super-characters in Wayne Boring’s style way earlier.

Then came Curt Swan with John Forte’s inking, Russ Manning’s Magnus, Fujitani’s Doctor Solar, Dan Barry, Alex Toth’s Eclipso, and again Infantino and Anderson with Adam Strange, Edgar Pierre Jacobs with Profesor Mortimer, Carl Barks, Wilson Mc Coy and Sy Barry on Phantom… But mainly and mostly Alex Raymond on Rip Kirby and Al Williamson with Secret Agent X-9.

Plus lots of movies (John Ford, William Wyler, Robert Bresson, Sergio Leone, and many more). And novels, and real life stories… And Classic painters Van Gogh, Vermeer, Caravaggio… Some local artists: García Lopez (when he was here), Alberto Breccia, Arturo Del Castillo, Ruben Marchionne… Someone has said that everything you see or hear has an influence on you, and I believe it’s true.

AP: How did you break into the ‘art’ business, and by that we mean,
how did you break in in general and specifically into the comic end of
things?

SS: I began going to local publishing companies with samples. It took me almost four years to land my first story, done in team with my friend Gaspar Gonzalez.

AP: Is comic art your preferred type of art? If so, why, what appeals to you about the sequential form of comics?

SS: Yes, I like comics over other kinds of storytelling. Maybe because we were poor and you can manage comics with just paper and pencil.

AP: You’ve worked or are working on several characters for Moonstone. What properties have you drawn?

SS: I’ve only done Twilight Crusade’s Succubus, The Phantom and Honey West so far.

I did lots of work for local and Italian publishing companies, plus
ghosting for fellow artists, even with stories for Marvel, DC and
Eclipse.

AP: The Phantom is a major character, not just because of its long
history, but because it has a dedicated fan base. How much did that
history and those fans influence how you handled your art chores on
the Ghost Who Walks? Did you make any design changes in the Phantom?

SS: I’ve followed and collected local editions of Phantom as a kid
Wilson Mc Coy and Sy Barry, later, plus Gold Key’s Phantom by Bill
Lignante, I loved them all, and when I began drawing Phantom for
Moonstone, I just tried to get as near as I could to those great
artists.

AP: In your opinion, why is The Phantom so popular? What keeps people reading this guy in purple tights who lives in the jungle?

SS: Well, I sure don’t know that. Should I know the answer, I’d use the formula to get rich.

AP: You’ve also done some work on Captain Future? How, if it does at all, does the style and technique you use for Captain Future differ from what you did on The Phantom?

SS: So far I’ve only been sketching and gathering Captain Future references, but I’ll try to get all together and see if Mike, Joe and readers like it. I hope so. I’ll enjoy drawing him, for sure.

As a reference, I’ll say that I did some SF stories for local companies some years ago. As a matter of fact, I did almost all kind of stories: war, western, historical, romance, police action-detective, you name it.

AP: Honey West is another Moonstone property that you’ve graced with your skills. Do you approach a story differently with a female protagonist artistically than you would any other piece?

SS: At local companies, I’ve worked on romance stories for almost
three years, some 300 pages. Many of those stories had female
protagonists.

AP: Can you tell us about your general technique? When you sit down to draw, do you have a particular process or regimen you go through in
completing work?

SS: I read the story three or four times to be sure about the whole story, try to get what the writer tried to do and get as near as I
can with the mood. Then, I go sketching in small size, very loose sketches. I get the sizes of the things on the panels and a general view of the action. Then I pencil, working most on whatever I should have some doubt, then comes the inking. I believe it’s most regular work, once you get into the right mood.
AP: Do you have any projects coming up in the future that you can share with ALL PULP?

SS: Yes. I work on anything I can as long as editors, writers and readers like it.

AP: Thanks so much, Silvestre, for stopping by at ALL PULP!

SS: Thank YOU, and ask anything more you want. There is some more information in Wikipedia and some other local interviews: they are in internet. But feel free to ask anything you need to know.
Silvestre

ALL PULP NEWSSTAND-BULLDOG EDITION, MOONSTONE MONDAY!

ALL PULP NEWSSTAND
BULLDOG EDITION
12/6/10

SAVAGE BEAUTY CREATORS SET BAR HIGH FOR MOONSTONE TITLE!!!

SAVAGE BEAUTY, the upcoming jungle heroine title from Moonstone has received quite a bit of buzz lately for a variety of reasons.   ALL PULP asked creators Ed Catto and Mike Bullock about their intentions, their goals for this title since it has appeal from several angles.  Catto and Bullock replied with the following-

As creators, our primary objective is to tell a good story. Savage Beauty must provide good stories in every issue or else the series fails. Beyond that, we want to serve up great artwork. We want to  thrill our readers.   We want to help our retailer partners sell a few more copies of a comic and keep their customers engaged and returning.

But more than all that, we’ve set some ambitious goals for Savage Beauty.

First there’s a global perspective.  We want to help readers know and understand, even if it’s just a little, current events in Africa. In 2010 it’s a fascinating place full of heartache and heroism. There’s barely a day that goes by when you can’t pick up the paper and read something about Africa, and shake your head in amazement. The headlines tell us all about evil men who impose their will on the good people in Uganda, Kenya, Somalia, DR Congo and the rest of the continent, but we also want to shed some limelight on the good people who call these places home as well.

Our other ambitious task is to provide exposure to some of the many wonderful organizations that are working to make these nations, and the world, a better place. These include a variety of groups who aid children, battle modern-day slavery, help villages with infrastructure issues such as drilling wells and even just “doing a good deed”.  We’re not making a political statement and we’re not saying these are the only solutions.  But in each issue we’ll donate one page to one such organization. Its our hope  that our readership will say “That looks interesting. I should learn a little more about it.”

We find that our readers are smart folks with many interests.  Many are highly analytical and have a natural curiosity.  If we can light a few sparks with a simple comic book, while still entertaining readers, that’ll be a big win.
Interested in ordering SAVAGE BEAUTY? Then print out the form below and get it to your comic retailer TODAY!

ComicMix Six: Who You Want On Your Side When Zombies Attack

sandman-flint-marko1-6905006If there’s one thing I’ve learned from watching and reading
enough stuff about zombies, it’s that you need a good bunch of guys with you
when the crap hits the fan. Guys who will last. Guys who know how to handle
themselves.

So in light of The Walking Dead marathon on AMC today leading up to the season finale, these are the guys I want with me when Hell is full up, and
the dead walk the earth.

  1. FLINT MARKO/SANDMAN
    Zombies love munching on flesh, but what if you put them up
    against a guy who’s made of sand? What the Hell are they gonna bite into? While
    sensitive to moisture, he can turn his body into glass. That’s gotta come in
    handy in close quarters. Flint is super strong and can take on crowds and send
    them reeling with a giant sledgehammer fist.

2. SOLID SNAKE
A veteran of many armed conflicts, this iconic video game
character has proven himself to be a top covert operations and infiltration
operator. He is a master with melee weapons, hand-to-hand combat, firearms, and
high explosives. Snake is one of the best guys to go to when you have to take
out a zombie quietly.

3. TED KACZYNSKI
Everyone’s favorite anarchist may not be the first guy you’d
want to get mail from, but he’s proven that he can live off the grid. When
electricity and running water are unavailable, knowing how to live and survive
become the same thing. He’s also pretty good at making dandy booby traps, so
that can come in handy with setting up a camp perimeter better than empty cans
on string.

(more…)

NEWSSTAND NIGHTHAWK EDITION!!!!

ALL PULP NEWSSTAND

NIGHTHAWK EDITION
12/4/10

DAMBALLA IS COMING!

The news of Airship 27 preparing to publish a brand new African American pulp hero by best selling fantasy author, Charles Saunders has captured the imagination of pulp fans everywhere.
Reaction throughout the pulp community has been immediate and exciting. “This is news that truly has me tingling all over. Mr. Saunders has been one of my major influences for years now. The news that he will be creating new heroes and stories for AIRSHIP 27 continues to cement my faith that AIRSHIP 27 is the major publisher for Pulp in the 21st Century.” Derrick Ferguson. (Author of Dillon & the Golden Bell)
Look for DAMBALLA, the first in a new original pulp series from Airship 27 Productions in the Spring of 2011.

Meet the mysterious members of the PERSONA PROJECT in IDEAS LIKE BULLETS!!

Logo created by Ali
Extra Pulp From the Mind of Tommy Hancock

Welcome back to IDEAS LIKE BULLETS and I’m glad to say someone has taken the first shot!!  After I posted the outline for THE NINTH CIRCLE in my last column, three fellow writers and I visited and THE NINTH CIRCLE is now an idea that will be a four story anthology in March, 2011 from Pro Se Productions!  This is how this column should work!
Today’s idea from Hancock’s six shooter of imagination is actually a modern take on a golden age concept I developed.   I’ll cover the original character (who is also open for use) first, then let the segment concerning his modern counterparts speak for itself.
The character’s name is PERSONA.  The original Persona was Gabriel Vincent, a sailor on a luxury ship in 1941.  Vincent assisted a group of saboteurs in setting explosives on a ship.  Realizing that the intent was to destroy the ship and all its passengers instead of just cripple the vessel, Vincent doublecrossed the spies at the last minute and attempted to evacuate the ship and stop the explosion.  Although he helped get over 100 people evacuated in time, he was unable to evacuate to save everyone.  In a last minute battle with the saboteurs, Vincent was standing literally over the experimental bomb (using some sort of unknown radiation) when it exploded.  Vincent was the only survivor of the non evacuated pulled out of the water.   As he recovered, he learned two things: 532 people died on the ship…and Vincent, his face horribly scarred…had the ability to become any of these 532 people he wanted to, down to their memories.
The piece you are about to read is from a story written sometime ago and introduces an idea that, well…takes advantage of the original Persona’s tale.   You’ll see…and no, the really cool assassin who is a part of the scene is not available as he, Patch Tatters, will be a titular character in my upcoming THE VARIED ADVENTURES OF PECULIAR ODDFELLOW novel. 
Anyone interested in either Persona or the Persona Project, let me know.  I will retain rights to the concept, but what you do with them is really up to you.  let me know at allpulp@yahoo.com!

*********

Taverly looked at his employee again.  The man was well built, wore nothing but black, down to the eye patch over his right eye.  His coal black hair was short and currently matted to his forehead.  “I just hope you’ve not misled me concerning your ability to eliminate him, Mr. Tatters.”

The man grinned mischievously.  “Please, Taverly, call me Patch.  All my employers do.  And speaking of misleading,” he raised his left hand, his fingers holding a tiny cylinder, “I believe you may be more fluent in that than myself.”  He pressed the end of the cylinder with his thumb.

The burst of light was almost explosive.  Taverly shouted, his voice rising to almost a scream and never lessening.  He stumbled back, throwing up his arms.  As he did, something happened.  The colors of his suit and his skin shifted, mottled together.  For the briefest instant, Taverly’s entire body seemed to run as if it were a fresh painting caught in summer shower.  He dropped to one knee as the mixed colors faded, starting at his feet and going up, faded to a pure white.  His form also changed, contorted and shrunk to that of an athletically built young woman.

“Damn..you.”  She looked up at Patch Tatters, her eyes squinted.  He offered her a hand up, but she slapped it away and stood on her own.  She stood rather tall for a woman, nearly six feet, and looked nothing like Taverly.  She wore a white costume, full body suit and full face mask. Thick white hair cascaded down her back in full curls.  Her face was almost featureless, except for two black slits where her eyes must have been.

“Sorry about that.”  Patch Tatters lowered the light in his hand, but, using his right hand, undid the holster on his leg and pulled the specially outfitted pistol from its holster.  “Didn’t know you were a lady.” He snickered.  “Don’t guess it’d have mattered, though.”

“What..what did you do to me?”

“Nothing, really.”  Patch raised the pistol, not out of fear, more out of caution.  “Once I figured out who…or at least what you were, it was just a matter of disrupting your concentration.  You Persona types have to work like demons to keep up your illusions.  Especially when you go transgender, I understand.”

The woman stood still, studying him.  As she regained composure, her posture changed, showing her confidence, her poise, even a hint of arrogance.  “I know you didn’t make me.  I’m better than that.”

Tatters laughed.  “I don’t know about that, but you’re right.  Most of you who survived the Persona Project have one fatal weakness.  Probably the reason the program was discontinued.  You all develop markers, some distinct characteristic, gesture, or abnormality that you just can’t help but display.   You all have it, but I understand that some of you have learned to mask it excellently.”  He nodded his approval of her ability.  “No, I found out you weren’t Taverly quite by an accident of your poor research.  I checked into Taverly’s background, just as I would any employer.  Verified his physical appearance, employment with a government agency, even his shoe size and penchant for tailored suits.  And the fact that Quentin Taverly died seven years ago in an ‘accident.’  One I’m assuming you caused.  After that, the leap to you being a Persona wasn’t long.”

“Aren’t you a little genius?”  She sneered, completely unimpressed with the man she’d paid 100 million dollars to kill the Public Defender.  “How, pray tell, does a common murderer know so much about the Persona Project?”

“You forgot again,” Tatters playfully chastised.  “I’m going to have get new business cards that explains this better.  I am in the business of dealing with people with extraordinary abilities for money.  That usually means making sure they don’t ever fly, shape shift, or fire death rays again.  For a man in my profession, research is key.  I know all I need to know about most heroes and villains.  For instance,” he walked closer to her, the gun still leveled at her chest, “I know that the Persona Project was a failed private enterprise experiment of the late eighties.  Based on the accident that gave the original Persona, Gabriel Vincent, his powers in 1941, a conglomerate of businesses selected twenty five people to undergo extensive tests and treatments, hoping to give them the power to assume any form.”

“Problem was,” Tatters said, walking around her slowly, enjoying his monologue, “the scientists involved didn’t know that Vincent’s power revolved around the fact that Vincent’s power consisted of being able to become any one of the 532 people that died on the ship that exploded with him on it.  Your ‘creators’ didn’t know that since they mimicked the same events, that they were dooming all of you to the same fate.  To only being able to assume the identities of those who died around you or due to your actions.”

“We..we were let go.”  Her voice faltered, but only slightly.  “Twelve of us went insane, were ‘dealt with’ onsite.  The other thirteen were just let loose.  We were nothing when it was over.  Just blank…white slates.  They had erased us and left nothing but shells. Shells that could only be filled by the deaths of others.  Some of the others went out and became villains, but most of us went to work for governments, mercenary groups, anywhere we could work at adding to the identities we could use.  There aren’t many of us left.  Six, maybe seven.”

“You,” Tatters asked, unsure if she’d answer, “How many have you killed to become them?”

“341.”  She laughed sadly.  “You’d think it’d be hard to remember that many, but it’s not. It’s quite easy when they are what makes you a person.”

IAN WATSON, WRITER, INTERVIEWED!!!!

IAN WATSON-Pulp Writer

AP – Hello, Ian, thanks for agreeing to do this interview with us. In recent years your excellent fiction has certainly made you a lot of fans on both sides of the Atlantic. Why don’t we start this with a short bio of yourself. Where were you raised? What was your formal education? Your current occupation and status; married or single?

IW – I suspect that I’m a thwarted pulp supervillain. Look at the evidence: I have a British accent, which is always a sure giveaway to American audiences; despite my humble origins I gained a scholarship to a public school (which is an English private school) and learned to crave wealth and power; I live in a gothic Victorian townhouse with my beautiful daughter and scheming son; and I appear when companies are in trouble to take over and impose order or I initiate elaborate masterplans for world-conquering projects – for a living.

Or you could say I’m a freelance management process consultant with two kids living in Yorkshire, England. Your choice.

AP – Before your work for Airship 27 Productions, what other fiction had you written and where did your first published fiction appear?

IW – In 1974, at the age of 11, I won an award at the Ilkley Literature Festival and the piece was published in their annual. I think I had a story published in the Daily Telegraph magazine somewhere in my early teens but really I only remember that I won a free LP a week from them for a year. When I was 16 my first play, The Golden Talents, was produced, the first of four productions I got on stage. None of them made me world famous.

I had a column in a local newspaper for a decade and I turn out business reports every week, but fiction writing has always been a hobby. I never submitted anything for print, believing the axiom that when your hobby becomes your job it’s time for a new hobby. If I hadn’t suffered an unhappy divorce a couple of years back I don’t think I would ever have questioned that choice. Since then I’ve contributed stories to White Rocket Books’ Sentinels: Alternate Visions and Gideon Cain: Demon Hunter and text articles to Assembled, Assembled 2, and the forthcoming Assembled 3. There’s a story called “Loss Adjustment” by me in Planetary Stories #18 at http://www.planetarystories.com/PS18.htm

I think the weirdest publication credit I have is appearing in a special anniversary volume produced by the Lewis Caroll Society of Canada. I got an e-mail from their honorary secretary asking to reprint an online parody poem of Jabberwocky I’d once written. I was honoured.

AP – Do you have a favorite genre to write in?

IW – I’m most comfortable in adventure horror, but of a particular kind. I was an avid teenage fan of M.R James and H.P. Lovecraft and I sometimes wish I could write their kind of slow-creep terror tales, but my interests lie in the struggle between heroes and the forces of evil. So the fiction I like to write isn’t about a hopeless relentless evil gradually destroying a victim. That’s where I like to start, but then I want a champion to get involved and fight back the agents of darkness. I’m a fan of William Hope Hodgson’s Carnacki, the Ghost Finder.

I like to write episodically. I find it quite hard to do short stories that are genuinely short. I find that my book-length tales tend to turn out to be very defined by their chapters. I use chapter ends as cliffhangers, to underline the latest story twist. Of course, that’s a helpful trait for someone to have in writing pulp fiction.

AP – How did you first hook up with Airship 27?

IW – Van Allen Plexico asked if I could turn round a Sherlock Holmes story very quickly, so I obliged. Then he asked if I could actually write a different one since what was required was twice the word count he’d thought, so I did. Almost everything I write is written by request, even if it’s only some pestering family member wanting to read it.

AP – Your first work for them was a Sherlock Holmes story. Is he a favored character of yours and was the story easy or hard to do?

IW – I find Holmes quite hard to like but his stories are fascinating to read. There’s a lot to admire in the Great Detective but I suspect he’d be tough to be around for any length of time.

I hadn’t read any Holmes for a very long while when I was asked to do the Consulting Detective story; I first read the whole canon as a teenager. I decided against doing a major reread, afraid I might end up churning out Conan Doyle pastiche rather then a genuine Holmes mystery. Instead I tried to distill my impression of Holmes, Watson, the world they lived in, and the way their stories worked. Only afterwards did I go back and read some of the original tales to check my instincts had been good.

The hardest part of the writing was keeping the content appropriate to the word count and balancing the presenting and solving of the puzzle with narrating a story that people might want to read. Conan Doyle was a master at offering a stripped-down mystery but still furnishing it with interesting characters and a driving plotline. Having to try and do that with his characters gave me a new appreciation for his skill.

AP – As your name is Watson, you aren’t by any chance related to that other bloke who appears in these tales?

IW – The family tend not to speak about great uncle John. His brother’s drinking was bad enough, but nobody supported John in throwing away a flourishing medical practice to join up with the Berkshires for the Afghan campaign. His subsequent marriage to an American was the last straw. It’s very hard to get any of the senior Watsons to comment on that lost chapter of our family history. Sadly, the only memento we have of our great uncle is a rather beaten-up walking stick that looks like it’s been gnawed by a bull-mastiff.

AP – How many Sherlock Holmes stories have you done for Airship 27 as of today?

IW – I’ve done four. Consulting Detective volume 1 featured Dead Man’s Manuscript. Volume 2 included “The Western Mail” and “The Last Deposit”. The projected Volume 3 may contain “The Lucky Leprechaun”.

AP – Will you be doing anymore of these?

IW – If we ever get to volume 4 I’d like to submit “Moriarty’s Death Mask”.

AP – You followed up these Holmes shorts with a full length Robin Hood novel which caused quite a favorable stir among the pulp community. Tell us a bit about this book and your own version of this classic hero?

IW – There’s hundreds of takes on Robin Hood, but few of them really show how he got to be the hero who robs from the rich and gives to the poor. A lot of versions offer a backstory origin where he’s dispossessed of his lands or returns from the crusades to discover injustice or whatever, but few show the slow process of him constricting himself into the man who stands against Prince and Sheriff for the poor and dispossessed. I was interested in spending some time showing that character arc.

So what does motivate a young man to turn from being a selfish if loveable rogue to becoming the champion of the people? What ever motivates young men? There had to be a girl.

Robin Hood: King of Sherwood is about a young outlaw and a noble heiress thrown together against the world, and how each changes the other until they become Robin Hood and his Maid Marian of legend. Robin and Marian is one of fable’s great romances so why shy away from it? is about a young outlaw and a noble heiress thrown together against the world, and how each changes the other until they become Robin Hood and his Maid Marian of legend. Robin and Marian is one of fable’s great romances so why shy away from it?

Once we had Robin and Marian as the centerpiece of the book it was important to give definition to the other characters to prevent them being swamped by the star players. Little John, Friar Tuck, Will Scarlet, Much the Miller’s Son and each of the other merry men had to have their own tale woven in; each needed a story arc to make them memorable.

Because I believe that great heroes need great villains I took a lot of trouble with scheming, sinister William de Vendenal, Lord High Sheriff of Nottingham, with the sadistic Sir Guy of Gisbourne, with vindictive lustful Prince John, and with brutal Handsome Jack, the bandit-king; but only one man can rise to truly be “King of Sherwood”. The book explains who, how, and why.

Finally, I wanted to offer as authentic a version of twelfth century England as I could manage without making the book a history text. This was a time when an indigenous Saxon population was still enslaved by ruthless Norman conquerors; when churchmen could damn a man’s soul for eternity for not paying his tithes; when serfs could have their hands chopped off for hunting field mice or gathering fallen wood in the king’s forests; and when the ruler of England had abandoned it to crusade a thousand miles away, leaving powerful barons and corrupt officials to carve the nation as they chose. It’s no wonder that the oppressed people told themselves stories of a champion who stood for them when no one else would. It’s a situation that still resonates with us today.

AP – Would you consider Robin Hood a pulp hero and if so, why?

IW – Airship 27 circulated a list of “classic” properties they’d like to consider stories about. At first I looked at King Arthur – I happened to have a trilogy’s worth of Pendragon stories ready to send, and I’ve published scholarly articles on The Matter of Britain – but it occurred that Robin Hood was a much more “pulp” figure.

In many ways, Hood is one of the very first true pulp heroes. His ballads were circulated originally in taverns and fairs, and he was one of the first characters to appear in print as soon as the presses were invented. His tales were based around a common man fighting for the little people. He had his band of friends helping him out, and eventually his lady love as well. He had a recurring villain and a set of nasty one-off baddies in his rogues gallery. And that was all before the seventeenth century.

For me pulp fiction is a very visceral form of writing. It’s supposed to stir the blood, to raise the ire, to provoke an emotional reaction. We want the two-fisted hero to punch out the wicked tyrant. We want him to save the girl from a fate worse than death. We want thrills and chills and shocks and cliffhangers and we want to experience that Saturday-morning edge-of-the-seat investment where we care about what’s going on in the narrative.

Robin Hood has always been good at that. He’s the lone man who makes a difference. He’s the people’s champion when all hope seems lost. He’s the outlaw who stands for justice when the law’s gone bad. He’s the trickster who outsmarts the system. It’s hard not to cheer for Robin Hood – and that makes him pure pulp.

AP – Your historical background for this book was meticulously researched. Is it true you reside near Sherwood Forest?

IW – Go back three hundred years and my house would have been in Sherwood Forest. Sherwood was a vast tract of land running halfway across England and linked to other woods beyond that. It was said a squirrel could go from Land’s End in Cornwall to John O’Groats in Scotland and never touch the floor. With deforestation from Robin’s time onward, now I live about twenty miles from Sherwood.

England is divided from ancient times into counties. I’m in the southernmost part of Yorkshire, which adjoins Nottinghamshire. The earliest Robin Hood stories place him in Yorkshire, as attested by the number of places there named “Robin Hood’s [whatever]” (Leap, Grave, Run, Bridge etc). Little John came from Hathersage, about twenty miles northwest of my home. Robin roamed Barnsdale Woods, fifteen miles due east.

Later tales place Robin down around Nottingham, and that’s where most stories now set him. Nottinghamshire takes this really seriously; even their road signs have the strap-line “Robin Hood Country” on them. They make millions from Robin Hood tourism every year as people go to see the Major Oak in Sherwood where Robin was said to have camped or visit the high hill where old Nottingham Castle once crouched over the city.

When I wrote King of Sherwood I decided to reconcile these conflicting locations by starting Robin, as the earliest tales did, in his Yorkshire haunts then having him move south towards Nottingham and his more famous stamping grounds in the sequel Arrow of Justice. Little did I know how many Nottinghamshire Robin Hood fanatics such a decision would upset! Think of the kind of furore that happens when a US football team defects from one city to go to another and the kind of feelings that stirs up and you’re on the right track.

Nobody’s actually shot me with an arrow yet but it’s only a matter of time.

AP – Artist Mike Manley painted a beautiful cover for the book. Your thoughts on first seeing it?

IW – I think kudos go to both the interior and exterior artists. I wrote a younger Robin than most and Mike managed to capture that. I suspect that portraying an athlete holding a bow is quite difficult for a modern artist, and doing so while conveying drama and offering an iconic image of a genuine icon is more difficult yet. I’m glad I only had to write it!

The tragedy of all good cover art is that some of it gets covered by that pesky writing.

Did you see Mike Manley’s blog on this, by the way? He goes into some fascinating detail about the process of constructing his cover art at http://drawman.blogspot.com/2010/03/robin-hood-king-of-sherwood.html

AP – Is it true there is a second Robin Hood novel now in production and when can we expect to see it?

IW – When I was plotting then writing the first volume it became very clear that to do justice to the story it had to be told in three chunks. There were natural breaks which allowed each of the three parts to have a narrative completeness but there needed to be a grand sweep to properly convey the story of Robin and Marion. The first book covers a madcap couple of weeks where the legend of Robin Hood is birthed. A second volume chases on through the next three months to see the consequences of a world with Robin Hood in it.

Amongst plenty of other events, the second book covers one of the most famous bits of Robin’s story, the Sheriff’s archery contest.

I believe Airship 27 intends to put Robin Hood: Arrow of Justice out sometime around March 2012. The old gang are back – and by that I don’t mean Robin and his merry men (though they are) nor the Sheriff and his grisly crew (though they are too). I mean Mike Manley’s on covers and Rob Davis is on interiors and Ron Fortier doing all the stuff Ron Fortier does and so on. So if you liked the last one you’ll love this. If you didn’t like the last one you’ll hate it.

AP – That’s great news, Ian. So before we close this out, what are projects do you have in the works that
pulp fans can look forward to?

IW – I wish I was an organized enough writer to think in terms of projects. I’ll be catching up on a month’s vacation sometime in the new year and there’s a couple of novels I hope to finish up, Robin Hood volume three and St George and the Dragon. I’ve promised a bunch of stories to a bunch of magazines that I should really do soon. And I’ve got a couple of epics that are much too long for the regular-sized volumes from Airship 27 and White Rocket that I’ll need to go back to and decide what can be done with them.

Meanwhile I’m waiting for my complimentary copy of Gideon Cain: Demon Hunter, containing my story “The Girl in the Glass Coffin”, smug in the knowledge that my volume two story “Feast of the Gallows Harvest” is already written.

AP – Thanks so much, Ian. This has been both informative and fun.

IW – Hey, you didn’t ask what the current Sheriff of Nottingham said about my book. Or the important input from the Bishop of Wakefield. Or how to break into Nottingham Castle from the secret underground tunnels that are still there. Or what my opinion is about John Watson’s migrating war wound. Or why a 17th century swashbuckler like Gideon Cain needs to understand the apocryphal Books of Enoch. Or why St George had to be in Libya when he killed that dragon. Oh, well. Maybe next time?