If you’re a fan of Richard Matheson’s vast volume of work, you may be interested in a special event being held later this year celebrating his 100th birthday. It’s called the Mathesontennial and will occur at this year’s Monsterama convention, marking its 13th year this August 7-9 at the Atlanta Marriott Northeast/Emory Area.

   Here below a link to regular contributor Matthew Bradley’s blog, where he’ll tell you all aboit it, as well as lots more information about all kinds of related things:

Mathesontennial

DAVID GOODIS – Street of No Return. Gold Medal #428, paperback original; 1st printing, 1954. Cover art: Barye Phillips.

   Street of No Return has strong similarities of plot to Down There (reviewed here), but is a much stronger book.

   Whitey, an alky once known as Edward Linden, the best singer of his generation, got involved with the wrong woman. The woman’s hoodlum friends try to persuade Whitey to forget her by smashing his vocal cords, and Whitey winds up with the rest of the winos on the street of no return.

   One day, with a race riot in progress in the Hellhole a few blocks away from skid row, Whitey sees some familiar faces and follows them into the Hellhole, where he tries to help a dying cop. As a result, he is accused of murder, and much of the first part of the book deals with his attempts to evade the police. just as much of the first part of Down There deals with Eddie’s attempts to evade the gangsters.

   Eventually the book comes to a predictable end: Whitey finds the killer and brings the riots to a stop. But as one would expect in a Goodis book, Whitey does not find the girl and live with her happily ever after. Instead, he goes back to his bottle and his friends on the street.

   What sets this book apart from Down There, as well as a number of other Goodis novels, is the writing. The writing is not slowed down. as it often is in Goodis’s works, by lengthy passages of introspection; thus the story moves along with the reader being shown. not told. and the narration is more effective than usual. One wonders why this book has never been filmed in place of other, lesser Goodis novels.

   Those with a taste for Goodis’s philosophy should try Street of the Lost (1953) and The Moon in the Gutter (1954). The titles tell the story. A recent movie version of the latter was a conspicuous flop.

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   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

FRANK KANE – Ring-a-Ding-Ding. PI Johnny Lindell. Dell 7451, paperback original; 1st printing, May 1963. Cover art: Ron Lesser.

Private eye Johnny Lindell, loosely cooperating with the police, helps them solve the murder of a hatcheck girl who threatened to expose a blackmail racket. Life in the underworld is taken for granted, and its nastiness is revealed without excessive finger pointing.

But author Frank Kane’s prose is often cheap and uninspired. For example, the line: “The bodice of her gown seemed inadequate to contain the fullness of her breasts.” (page 10)

Characters act at the whim of the author, who is omniscient in relating past histories and present thoughts, The credibility of the plot is stretched when, for another example, Liddell tells the police who his client is on page 114 and later groans when he learns that they know on page 153.

Easy surface reading.

Rating: **

THE MEANEST MAN IN THE WORLD. 20th Century Fox, 1943. Jack Benny, Priscilla Lane, Eddie ‘Rochester’ Anderson, Edmund Gwenn. Director: Sidney Lanfield.

   A small town lawyer is persuaded by his girl friend’s father to go to New York City and make his reputation, but unless he sheds his nice guy image he finds he won’t make a nickel. Once he starts evicting little old ladies into the street, business comes flooding in.

   And of course he loses his girl. There is not much else to say about this film (less than an hour running time), except to say that Jack Benny plays himself very well, and although not called Rochester in the movie, Eddie Anderson may be even better in his part.

DICK LOCHTE – Sleeping Dog. Leo Bloodworth and Serendipity Dahlquist #1.Arbor House, hardcover, 1985. Warner, paperback, December 1986.

   In which a young worldly-wise girl (Serendity, 14) meets a world-weary private eye (mid-40s?) named Leo Bloodworth. Her dog is missing, and she needs him to help find him. The trail (for her mother, as well) leads them up and down the state of California today.

   I loved the first two chapters, and the wrap-up of the detective story was nearly as nice, but I have to confess I found the middle section of this long book just a little too long, And if this is the state of California today, I’m glad to be here in New England.

      The Leo Bloodworth & Serendity Dahlquist series:

Sleeping Dog (1985)
Laughing Dog (1988)
Rappin’ Dog (2014)
Diamond Dog (2014)
Devil Dog (2017)
Mad Dog (2017)

DAVID GOODIS – Down There. Gold Medal #623, paperback original; 1st printing, 1956. Caver art by Mitchell Hooks. Grove Press, softcover, 1962, as Shoot the Piano Player.

   David Goodis is probably best known for the film versions of two of his books: the Bogart/Bacall Dark Passage and the French version of Down There (Shoot the Piano Player, directed by Francois Truffaut). Both movies are better than their sources. Goodis was a writer without real verve or flair, and he did far too much telling and too little showing in his books. He remains popular in France, however, perhaps because of the “existential” nature of his stories.

   In Down There, Eddie Lynn is a piano player in a cheap joint called Harriett’s Hut. He had once been a prominent musician, but he discovered that he owed his big break to his wife’s sleeping with an impresario. She eventually confessed to Eddie and then killed herself. Eddie began his long slide to the bottom.

   One night Eddie’s brother shows up at the Hut, being pursued by gangsters. Eddie helps him out and gets in trouble himself. Lena. a kindhearted waitress at the Hut, tries to help Eddie out, but his relationship with her leads to his killing a man. He runs to the old family home, where his brother is holed up. Lena follows him to warn him that the hoods are on his trail, and there is a final shoot-out.

   The ending, like most endings in Goodis novels, is bleak and without hope, showing men at the mercy of outside forces, yet still responsible for their acts. This theme runs throughout Goodis’s works and is never more evident than in Down There.

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   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

HAL CLEMENT – Ocean on Top. Serialized in If Science Fiction, October through December 1967. Daw, paperback, June 1973. Cover art: Jack Gaughan.

   Begun as a perceptive narrative, with no conversation occurring in the first installment of the serial, the story is bogged down from the start, with no sign of human relationships being portrayed. Focused as it is on a separate culture existing at the bottom of the Pacific independently of the rest of the human race, Clement’s tale revolves around four humans, three men and the obligatory woman, who discover these people, but he fails to make any of these natives real.

   The difficulty of existence in this strange environment, even with advanced scientific capabilities, are not gone into far enough, not nearly so. Is the problem too difficult, so impossible, even for an author of Clement’s “hard science” reputation?

   Referring again to the serial ( I have not read the later paperback version which was perhaps expanded from the magazine in which it first appeared), I found myself objecting to learning more about the story from the synopses provided at the beginnings of the last two installments. Granted, there were implications as to the nature of the (Power) Board were present, for example, but why were they spelled out in detail in these synopses?

Rating: ***½

NORBERT DAVIS “Walk Across My Grave.” Short story. First published in Black Mask, April 1942. Reprinted in Ellery Queen Mystery Magazine, November 1953.

   I was talking about humorous private eyes after reading Loren D. Estleman’s story “State of Grace” a short while back. The PI in that tale was a chap named Ralph Poteet, a relatively recent hero of sorts based in Detroit. Going back in time, to the early 1940s, the leading character in this story is a chap named Jim Laury, who’s not a PI at all, but a matter-of-fact sort of fellow whose fictional existence was even shorter than Mr. Poteet’s. According to all the evidence I’ve been able to find, this is the only story he was ever in.

   He’s a quiet, unprepossessing ,man. Here’s the first couple of paragraphs that was used to describe him as he comes into the story, a two or three pages in:

   Not too much there to stoke anyone’s sense of humor there, I suppose, but I think it’s an excellent piece of writing. No, what I found really funny comes later, speaking of myself in particular, as he listens to his deputy (a man named Waldo) wild and woolly theories about the case, bods thoughtfully as if they had any real bearing about the case, and continues on about business.

   Which begins with a figure in black being seen stumbling around in a cemetery at night banging into tombstones and all, then seguing into a murder that has to be solved. Which Mr. Laury does, calmly and in very cool pulpish fashion.

   It’s too bad that Norbert Davis never tool the time to wrote down any other of his cases. He wrote lots of other tales equally fun to read, though, in a career that was far too short. He died in 1949, at the age of only 40.

GLORIA WHITE – Murder on the Run. PI Ronnie Ventura #1. Dell, paperback original; 1st printing, July 1991.

   According to page one,Ronnie Ventura is the half-Mexican daughter of a pair of jewel thieves, Somehow she is now a PI, According to the short bio at the end of the book, this is Gloria White’s first novel. Of these two statements, the first one is more than a little unusual, but it’s actually the second one that’s hard to believe. This is a good book, and if I had any say in the matter (which I don’t), I think it could easily be nominated for Best First Novel in anybody’s league.

   It begins like this. Ronnie is out running near Golden Gate Bridge one morning, when she spots two men struggling, One pushes the other into he water, and  once she has been seen, she is pursued by the one who did the pushing, Luckily she gets away,

   Two problems arise immediately: (1) the body is not discovered right away, and (2) she has recognized the person who did the dumping as Pete August, a PI who once worked for the D.A.’s office, and who also has worked for the police department – in other words, he’s a fair-headed, high profile boy with all his former connections still in intact.

   Snubbed by the police, Ronnie keeps working. More deaths follow, but she soon manages to get a homicide detective names Philly Post interested. This is a lady who doesn’t give up, and the story has both ginger and snap.

   There is even an unexpected twist ahead. The only problem is the ending, It’s too predictable. A little too obvious. I saw it coming, One good twist deserves another as the saying goes, and I didn’t get one.

   Don’t get me wrong. This book is as good as any of the other female PI novels I’ve read in recent months, and some of them were as good as those by men, (A number of them have been even better.)

LOREN D. ESTLEMAN “State of Grace.” PI Ralph Poteet #1. . First published in An Eye for Justice: The Third Private Eye Writers of America Anthology, edited by Robert J. Randisi (Mysterious Press, hardcover, 1988). Collected in Match Me Sidney!, (No Exit Press, 1989), and in People Who Kill, (Mystery Scene Press, 1993). Reprinted in Under the Gun, edited by Ed Gorman, Robert J. Randisi & Martin H. Greenberg, (NAL, 1990_ and in Murder Most Divine ed. Ralph McInerny & Martin H. Greenberg (Cumberland House, 2000).

   Comical PI’s are not common, fictional or otherwise, but you can add Ralph Poteet to the short list that (someone else) has been busy putting together over the years. You can tell about the funny business in it first of all by the name of the detective. Now I suppose the name Ralph Poteet is common enough is some parts of the country – Detroit, for example? – but  in sturdier country, such as New England, for example, just reading the name is bound to give us folk a serious case of the giggles.

   Not that the comedy in this tale is likely to do more thay. Mr Estlemna, as its author was wise to make the humor in it quieter and more subtle than that, but I think that he had fun writing it. It begins with the hooker who lives in the apartment above him calling him to tell him that she has a dead priest in her bed. Dead. Heart attack? Maybe. What she wants is for him to get rid of him.

   Ralph is the kind of guy who thinks well of himself, but when it comes down to it, he’s a sleazy kind of fellow, and he takes the job. The first person he calls is a bishop named Stoneman, who is ready and willing to help. When he comes back, well I won’t say exactly, but it’s a close call.

   The story goes on from there, and if you haven’t been able to tell, I recommend this one to you highly. It shouldn’t be too difficult to find, if I’ve intrigued you enough.

The Ralph Poteet series —

       Short stories:

“State of Grace” (1988, An Eye For Justice)
“A Hatful of Ralph” (2003, Flesh and Blood: Guilty as Sin)

        Novels:

Peeper. (Bantam, 1989.)