Mention The Avengers to your average Joe or Jane Punchclock and they’ll most likely assume that you must be talking about the blockbuster movies featuring a team of Marvel superheroes. And they’re right. But there’s another team of Avengers that has just as loyal following as those other Avengers ever since the 1960’s. The British TV series THE AVENGERS starred Patrick Macnee as John Steed. Originally, he wasn’t the main character. That was Dr. David Keel played by Ian Hendry. THE AVENGERS started out as pretty much a straight up crime drama but that changed once Steed became the main character and was partnered up with a succession of beautiful assistants. Women whose names soon became legendary due to their intelligence, sophistication, style, talents and abilities that made them easily as equal as their male partner out in the field. Cathy Gale (Honor Blackman) Emma Peel (Diana Rigg) and Tara King (Linda Thorson) worked with Steed for a shadowy branch of the British Secret Service (given the name of “The Ministry” in the disastrous 1998 movie) combating enemies that became more bizarre the longer the series ran.
Robotics, time travel, mind control, invisibility, super computers wanting to take over the world, The Hellfire Club (a concept borrowed for Marvel Comics “X-Men” series) mad scientists…THE AVENGERS had all that and more, incorporating elements of science fiction, satire, parody, droll British wit flavored with eccentricity into an entertaining one hour package that ran from 1961 to 1969. There also was “The New Avengers” which ran from 1976 to 1977 that saw John Steed with two new partners played by Joanna Lumley and Gareth Hunt.
We won’t talk about the movie, okay with you?
But what I would like to talk about is THE AVENGERS: TOO MANY TARGETS. Judging from the date I’m assuming it was published to compliment the feature film. One has to wonder why there wasn’t a proper movie tie-in novelization but in this case I’m glad there wasn’t. THE AVENGERS: TOO MANY TARGETS is just fine the way it is. It’s not a masterpiece and it’s not a book that I insist that you actually have to read but if you’re a long-time fan of the series then you’ll have a good time with this.
Somebody is going around killing agents of The Ministry. Somebody that looks a whole lot like John Steed. And he’s not a fake. Thanks to computerized voice analysis there can be no doubt. It actually is Steed. And considering his knowledge and experience, a rogue Steed is the greatest threat imaginable to British Intelligence. A reluctant Tara King is giving the assignment to eliminate him.
But while this is going on, Steed is contacted by a retired colleague who gives Steed a special assignment that comes right from The Prime Minister himself: Steed’s superior, codenamed ‘Mother’ has apparently gone rogue and is killing his own agents. Steed is given the assignment to eliminate him.
Now believe it or not, this all ties in with a wild gorilla roaming the English countryside being hunted by Cathy Gale and Dr. David Keel’s investigation into a lethal plague rampaging through the African nation of Katawa. All of these diverse threads lead everybody to Knight Industries, owned and run by Mrs. Emma Peel as apparently Knight Industries is the new birthplace of the deadliest foes The Avengers ever faced: The Cybernauts. Before, Steed and Mrs. Peel barely survived their encounters with the murderous robots. Now they have to face a new generation of Cybernauts that are faster, smarter and more powerful than their predecessors. Even with Dr. Keel, Cathy Gale and Tara King on their side, can they once again defeat the insane genius who has given The Cybernauts new life and save the world?
I trust you see the main attraction this book had for me. For the first time, Steed is working with all his former partners on the same case. There are a couple of others that don’t appear here such as the nightclub singer Venus Smith and Dr. Martin King but they only appeared in a handful of episodes each and they’re nowhere nearly as well known. A lot of the enjoyment I got out of the story was seeing how Steed’s partners interacted and worked together. Tara King isn’t very happy about Mrs. Peel so obviously enjoying the adventure and working with Steed again. Dr. Keel and Cathy Gale discover that they’re quite the formidable team of brains and brawn. And it’s downright comforting and touching to see that Steed seems to be taking an almost fatherly pride in the way his former partners mesh their talents and skills together.
And I also liked how the book is set in period. There’s a part where Mrs. Peel and Tara are talking and Mrs. Peel makes a reference that it’s been a year since she and Steed’s partnership ended. So apparently Steed and Tara managed to get that spaceship they accidentally flew off in at the end of the final episode back to Earth. Being set in period gives the writers a chance to have fun with the technology, terminology and British eccentricity of the 1960’s. It’s also pretty funny at times, especially the scene where a poor Russian agent is harassed by one Avenger after another, all looking for information on Steed’s whereabouts. It’s also appropriately bizarre in the scenes where Cathy Gale battles a gorilla and where Steed and Mrs. Peel have to fight off Cybernauts disguised as flying stone angels in a graveyard.
So, should you read THE AVENGERS: TOO MANY TARGETS? Like I said, if you liked the TV series and you’re a fan then I don’t see why you wouldn’t want to. It’s a light, breezy read and the characterizations of Steed, Mrs. Peel and Tara are as I remember them. And even though I’m not familiar with Cathy or Dr. Keel, the writers sold me on them being worthy partners of Steed and just as deserving to be called Avengers. Well-written action scenes and you can’t beat a cyborg Neo-Nazi mad scientist with an army of killer robots as bad guys. It’s a fun read.
Derrick Ferguson: It’s been something like 42 months since we last talked like this so we’ve got to do the obligatory thing where you tell the folks reading this something about you and what you’re all about. So, who is Percival Constantine and what are you all about?
Percival Constantine: I’m a professional author and university lecturer originally from Chicago, but I’ve been living in southern Japan for almost ten years. Basically, I’m a huge geek. Growing up, I was a massive fan of superhero comics, video games, and movies, and those interests haven’t abated now that I’m in my mid-thirties. I started writing comic book fanfiction when I was in high school and I published my first novel, Fallen, in 2007. Since then, I’ve been continuously writing and have produced over twenty novels, plus several short stories collected in various anthologies. My writing has been spread across many different genres, such as science fiction, fantasy, horror, mystery, and action/adventure.
DF: You’ve been writing professionally for quite a few years now. Have you found your audience? Or have they found you?
PC: A little bit of both. When I first began publishing, I didn’t know what I was doing and I had no idea how to find an audience, so I’d just throw stuff out there and hope it stuck. Nothing ever really did. Over time, I learned about the importance of self-promotion and began doing things like paid advertising through avenues such as Facebook, Amazon, and different book recommendation email lists. That helped me find an audience for my work. In the process, as I was able to advertise my work to more people, it led to my books ending up in search results for related books, so it helped other readers find me.
DF: What’s the secret to good writing? Have you cracked the uncrackable code?
PC: I don’t think anyone will ever crack that code because the definition of good writing depends so much on the reader. I think as writers, the only thing we can really do is write books that we’re interested in writing. Readers are savvy and they can smell a phony a mile away. If you’re writing a book that you’re not interested in, readers will pick up on that and it will turn them off.
DF: What keeps you motivated to keep writing?
PC: My entire life has been devoted to storytelling. I devoured it as a fan, I studied it as a student, and I write and teach it as a professional. To me it’s as natural as breathing. I’ve had moments when I was frustrated and swore, double-swore, and triple-swore that I would give up writing. But I always ended up coming back. I’ve got stories I want to tell and that’s what motivates me to keep going even when readers aren’t buying.
DF: How much room in your head do you allow for critics and criticism?
PC: As much as is needed. My approach to criticism is to consider the source. Sometimes you’ll get criticism from people who simply aren’t part of your audience—and that’s fine, not everyone will be part of your audience. That kind of criticism I’ll consider, but I won’t stress myself out over it. Other times, you might get criticism for not doing something you never set out to do in the first place. I’m not going to worry about that kind of critique at all.
The most important criticism that I’ll consider is criticism that comes from people who are my intended audience. Those are the comments I’ll think about and it will make me take another look at my work. But sometimes, even after considering those critiques, I might still choose to go my own way.
I think the writer who ignores all criticism is too egotistical and the writer who takes all criticism personally is too sensitive. It comes down to something Stephen King said in On Writing: “You can’t please all of the people all of the time. You can’t even please all of the people some of the time. You just have to settle for pleasing some of the people some of the time.”
DF: What are your thoughts on where New Pulp is at today?
PC: To be honest, I don’t give a whole lot of thought to New Pulp these days. It’s something that kicked off with a lot of fanfare, but I think too many people who identify with New Pulp are more hobbyists than serious about creating a professional movement. And if they just want to be hobbyists, that’s fine. But I see far too many frustrated at a lack of momentum, yet those same people aren’t doing much to help change the landscape.
DF: Is New Pulp going anywhere? If so, where is it going? If not, why isn’t it?
PC: I don’t think so. I think it will remain a niche field for hobbyists and I doubt you’ll see a whole lot of momentum, and this ties into my previous answer. There’s a wealth of information out there for how people can take advantage of the new indie market. We have more tools than ever before—access to affordable advertising, access to wonderful cover designers, access to the kind of market research that publishers would have killed for twenty years ago.
And yet, the people in New Pulp aren’t taking advantage of these things. If you look at the successes in indie publishing, a few commonalities start to emerge: they produce books quickly, they get genre-appropriate covers, they pay attention to the genres that are hungry for books, they target the right categories on Amazon, they take advantage of advertising and mailing lists, etc. How many people in New Pulp are doing these things? I know I do it and I’ve seen my success grow as a result. But too many people are tied to the romantic notion of being an artist who doesn’t worry about the business side.
Problem is unless you’ve got someone to handle that business side for you, you aren’t going to make any money.
It’s a bit tragic, I think, because I see so many immensely talented New Pulp writers who should be killing it. I’ve read these books and they’re very good. But they aren’t getting the right covers, they aren’t targeting the right categories, they aren’t advertising or reaching out to readers with mailing lists, their production schedules are inconsistent and have far too much of a gap between releases, etc.
And yet the readership is hungry for New Pulp, they just don’t know it’s called New Pulp. Space opera came from pulp. Urban fantasy came from pulp. Superheroes came from pulp. Romance came from pulp. Horror came from pulp. Westerns came from pulp.
These genres are big right now and there are authors who are producing books in those genres and making a lot of money selling those books. But none of them are part of the New Pulp crowd.
And the difference between us and them? It’s not the quality of the writing. It’s not luck. It’s because those other authors are treating it like a business. A New Pulp writer thinks, “I want my western to have an illustrated cover just like the westerns during the pulp era had and I want readers to find me.” A successful genre author thinks, “What westerns are selling well? What do those books have in common? What do those covers have in common? How can I get my book in front of those readers? How can I get those readers onto my mailing list?”
If New Pulp writers want to be more than hobbyists, then they have to start asking these questions of themselves.
DF: Who is Luther Cross?
PC: Luther Cross is a character that came to me a long time ago. I was in the midst of writing the second novel in the Infernum series, Outlaw Blues, when tragedy struck. My computer crashed. For some reason I can’t remember, I had to wait several months before I’d be able to use software computer on the failing hard drive. So instead, I got the hard drive replaced and rather than keep writing from memory, I thought about doing something else. I’d just started binge-watching Supernatural at the point and it made me want to write something in the same vein. I was also a big fan of John Constantine from the Hellblazer comics as well as Warren Ellis’ Hellstorm: Prince of Lies comic book from the early 90s, so all those went into my conception, as well as a bunch of other stuff.
Luther Cross is a cambion—half-human, half-demon. He was raised and trained by a secret society called the Sons of Solomon in the hopes that he would use his abilities against the forces of darkness. As an adult, he works as a paranormal investigator in Chicago. Also, somewhat uniquely in the world of urban fantasy, he’s a black man whereas most protagonists are white. That wasn’t really a conscious decision on my part, when I first visualized the character, for some reason I just pictured Idris Elba with glowing red eyes (though I’ve come to believe that if a live-action version were ever made, DB Woodside would make the perfect Luther).
I never finished that first novel, but the character stuck with me. Years later, Tommy Hancock of Pro Se Press came to me about Pro Se’s Single Shot Signatures line and asked me if I wanted to contribute. I pitched him a few ideas, including Luther, and he liked that one the best. Jeff Hayes designed a wonderful cover and I started writing 10,000-word short stories starring Luther. Some setbacks pushed back the publication schedule and eventually, Tommy had to make the decision to scale the line back. I’d already been planning to do some novels with Luther, which Tommy was fine with and we had talked about doing some cross-promotion. But when the scale-back came, Luther’s series was one of the victims. That actually did work out for me though, because I was able to then focus solely on the novels. And so far, those books have been doing very well for me.
DF: Have you always been a fan of urban fantasy?
PC: Yes, but I didn’t always know it was called urban fantasy. Growing up, I became a big fan of Buffy the Vampire Slayer and then the spinoff Angel, plus short-lived series like The Crow: Stairway to Heaven and Brimstone. I became a fan of horror movies in college and that led me to comics like Hellblazer and Hellstorm, plus later on I watched TV shows like Supernatural and Constantine. So I’d always liked the genre, but it wasn’t until I became active in publishing that I learned it was called urban fantasy.
DF: One of the things I enjoyed most on reading your Luther Cross books is the cosmology involved that Luther operates in. I’m especially tickled by the notion that the hierarchies of Heaven and Hell are no more than celestial bureaucracies. Did you draw upon established religious doctrines for your conceptions of Heaven and Hell?
PC: I’ve looked at various sources when describing them, but I haven’t relied too heavily on any one source. When angels were introduced in Supernatural, one of the things that I really liked was that the angels were portrayed as haughty, self-righteous assholes. And it made sense. It also got me thinking a lot about the nature of both. The whole notion of 100% good or 100% evil is something that I don’t really agree with and seems very simplistic.
So that got me thinking: what is the difference between Heaven and Hell? What is the difference between angels and demons? They had to be two sides of the same coin, but it couldn’t just be good vs. evil. I needed more there.
Then it hit me: angels were made to obey. They follow orders. Lucifer was banished because he refused to follow orders, because he was prideful. So that meant Heaven was a place where rules matter more than anything else and it became a simple calculation—not good vs. evil, but order vs. chaos. And that’s when everything clicked.
DF: What are your plans for Luther Cross as a character and as a franchise?
PC: I’m currently writing the fifth book. I won’t reveal the title here because it might spoil the ending of the fourth book, Devil’s Conflict (which came out this past August). But I have at least six books in the series planned and I also have ideas for a potential spin-off series. As long as fans are still reading and I can still come up with ideas, Luther will continue on.
That’s what I have control over. Absolutely I would love to see Luther translated into other mediums. Nothing would please me more than to see a Luther Cross series on TV or a Luther Cross movie. I’d totally be willing to write a Luther Cross comic book. I’d love a Luther Cross video game. But those things are beyond my control at the moment.
DF: Tell us about Vanguard.
PC: Vanguard was my first attempt at publishing my own original superhero series. The concept is that the world experienced a strange phenomenon in which a small percentage of humanity was granted superhuman abilities, called specials. In the face of these new challenges, the US government in secret gathered together a team of these specials in order to deal with superhuman threats. It was influenced by my love of superhero comics, especially the X-Men and the Avengers.
My original idea was to reproduce a structure similar to many of the comics I loved growing up, where I’d write it as a serial with each installment featuring a self-contained story, but with subplots stretching out across the length of the series.
The serial approach didn’t work so well and I abandoned it about halfway through and just released season compilations. The series lasted for a total of five books (or seasons), which was my initial plan going in. I do have ideas for further books and the books that are currently out there go through periods when they experience a bump in sales. At some point, if both time and sales are preferable, I would like to return to that world.
DF: Are we going to see more adventures of Elisa Hill, The Myth Hunter?
PC: The final book ended with Elisa’s death, but there’s always the possibility for resurrection, and I’ve thought about doing more books in that world. At the moment though, there aren’t any plans. Unfortunately, the sales on The Myth Hunter books were never very strong, so it’s hard to justify it at this time when I’ve got other books that are selling far better. But I still love that character and that world and would love to return to it at some point.
DF: Are we going to see the Infernum series return?
PC: No, no plans whatsoever. That series definitely performed the poorest of all the ones I’ve written so far. I didn’t leave open a lot of doors for future installments, either, so even if interest were there, I’m not even sure where I would go with it.
DF: What’s a Typical Day In The Life of Percival Constantine like?
PC: I wake up around 6-7 am, shower and have my morning coffee, then I check email and do some writing. I try to shoot for 2,000 words every day, but some days are better than others and some days I just don’t do it at all. I teach at a few different locations, so my schedule every day is a little bit different, some days I’m working until evening, other days I have the afternoon off. When I get home, that’s just my decompression time. I have dinner and then either play video games, read comics or books, or watch a movie or some TV. Nothing very exciting.
Derrick Ferguson: Since it’s been three years and eight months since I last interviewed you we have to refresh people’s memories. Who is Raymond Embrack? Where do you live and what do you do to keep the bill collectors away?
Raymond Embrack: A member of Usimi Dero. Los Angeles. Haven’t kept them away yet. Have taken up day trading as my new art form.
DF: Any major changes in your life since we last talked?
RE: Retired from close to doing 20 in L.A. County. Soon to move back to Washington DC.
DF: Last time I interviewed you I asked you if there was an audience for Raymond Embrack. Have they found you or have you found them?
RE: The weirdness has been out there long enough an audience is actually finding me, almost a following today. Mostly younger, a mix of exiles and hipsters. Who thought I would wind up the Jeff Goldblum of nobodies?
DF: How do you feel you’ve grown and developed as a writer in the past three years?
RE: Since Kindle Create I do all parts of production, plus design my covers.
DF: How has your attitude about your work in particular and writing in general changed or modified?
RE: I ended the intent to make book sales. I cut half my book catalog, now only write my desert island catalog of only Surf product. Turns out I only like writing Surf.
DF: Update us on Peter Surf. First off, for the folks who don’t know who Peter Surf is, tell us about him.
RE: Peter Surf is my private eye series private eye since 1996. His name comes from the music in Pulp Fiction. First published 2000. Operates in west coast Blonde City, the city Trump would build with Madonna. Surf is in part composed of Derek Flint, Hunter S. Thompson, John Shaft, Chris Rock. He runs a dojo to meet women, invents martial arts like Aztec Karate. He specializes in unusual dangerous and difficult cases, never does missing persons cases because most PI novels are missing persons cases.
DF: Where is Peter Surf going as a character and what are your future plans for him?
RE: Perfecting the swagger this began with.
DF: What else are you working on now?
RE: Nothing. For now less writing, more reality.
DF: What is the one book of yours you would recommend to someone to start with? And why that book?
RE: Pick the description you find hottest, work your way to the coolest. Or vice versa.
DF: What keeps you motivated to continue to write?
RE: My aspiration to build a series of at least 20 dope Peter Surf units, a collection of WTF? to one day gaze upon with chill self-gratification.
DF: Drop some much needed Words of Wisdom on all the young aspiring writers reading this that are thirsting for knowledge.
RE: Only write what you love most. Be your own favorite writer.
DF: What’s a typical Day In The Life of Raymond Embrack like?
RE: Day trading from a desktop, earning more, losing less, learning by doing, writing my own textbook as I go. Each person has to write their own textbook. Night, that’s another question….
When last we saw Garvey Dire, he was doing pretty well for himself. Oh sure, his mission to Mars had gone wrong, leaving him near death. But then found himself miraculously transported 50,000 years into the past. And in that past, Mars is not a dying planet. Indeed, it thrives with life including the Muvari tribe which is mostly populated by warrior women. The males of the tribe are few and are guarded as they assure the continued survival of the tribe.
Garvey survives a number of harrowing adventures to rise to a level of prominence in the Muvari tribe as well as marrying the gorgeous and deadly Ntashia, the finest swordswoman of Mars. Garvey even managed to prevent World War III back on Earth in his native time period and save the life of his best friend. Salt-N-Pepa could very well have been talking about Garvey in their song “Whatta Man”
When we catch up again with Garvey Dire he’s facing an army of Galbran. They’re a rival tribe of cannibals who have an old score to settle with Garvey and an older one to settle with the Muvari. And while he’s trying to hold off this army in a remote outpost with but a handful of Muvari warrior women, he’s also trying to figure out how to handle the Muvari custom of a man having more than one wife. It’s not as hard one might think since his first wife Ntashia has made the arraignments for the marriage and is actively encouraging it. It’s custom, y’know and when on Mars…hey, do as the Martians do.
It’s almost a relief for Garvey to discover that his old rival and fellow Earthman Arnold Stechter survived the events of “Dire Planet” and is alive and well. He’s lost his memory of his life on Earth and doesn’t recall that he and Garvey are bitter enemies. But Stechter hasn’t forgotten his ambition and desire for power. He has gathered together outcast warrior women from a dozen different tribes and forged them into a savage, bloodthirsty army. And with these EXILES OFTHE DIRE PLANET he intends to conquer and rule Mars. But it’s a plan that has to begin with the overthrow of Ledgrim, the hidden Muvari capital city. And it’s Garvey Dire who will unwittingly help Stechter achieve that goal…
If you’ve read and enjoyed “Dire Planet” then you’ll certainly want to read the sequel. Not only does Joel continue to explore and reveal new layers of his Martian culture but he also gives us new layers of his protagonist. Garvey’s naturally hesitant about entering into another marriage when he’s already got a wife he’s perfectly happy with. Garvey Dire exhibits more maturity in this multiple marriage thing than you would expect from a hero in this genre. Garvey’s still learning his role and place in this world and he sometimes wishes things would go a little slower.
One thing he’s not slow at is facing down the hordes of enemies thirsting for his blood in this one. If this book doesn’t have the highest body count of any of Joel’s books, its right up there in the top three. Just the first fifty pages of the book has a higher death rate than most complete novels. And this is before Garvey finds out about Stechter and his army of exiles.
EXILES OF THE DIRE PLANET is an enjoyable book as well as a demanding one. Joel seems determined to give readers more bang for their buck and while he certainly does that it also means that there’s a lot more you to pay attention to attention to and keep track of. The only complaint I have with the book is that in order to get in as much information as he can, Joel will occasionally have characters explain some aspect of Martian life and culture to Garvey, even during scenes where it seemed to me that concerning themselves with surviving whatever is trying to kill them should be of paramount importance. Also, there’s the character of Naegrik the Galbran. While he provides Garvey with a sidekick who’s just as much of an outsider as he is, Garvey’s acceptance of his conversion from full-blown cannibalism to bosom buddy and lifelong pal is a bit too quick for my taste. But I liked how the other characters kept an eye on Naegrik when he was around and constantly reminded Garvey that this guy grew up eating people.
But the main thing here is the adventure and Joel delivers it with great style and tight control over the half dozen subplots he’s got going. And EXILES OF THE DIRE PLANET ends with a cliffhanger that will demand that you get the third book in the series; “Into The Dire Planet” to find out what happens next. And for my money that’s exactly what Pulp, whether Classic or New is supposed to do. Enjoy.
You can find all the books in the “Dire Planet” series and many other fine books by Joel Jenkins HERE
Not being an historian I’m not sure if Edgar Rice Burroughs created the Planetary Romance genre. But I am certain that he refined it into something so unique and special that all anybody has to do is say “John Carter” “Dejah Thoris” or “Barsoom” and most everybody even remotely acquainted with Classic Pulp will know what you’re talking about. Planetary Romance or Sword and Planet as some like to call it is a wildly popular genre in its own right. Burroughs having struck great success with his Mars books pulled off the same trick with his Carson of Venus books. In the 1980’s I discovered other books/series in the genre written by Lin Carter, Michael Moorcock, Alan Burke Akers and even…sigh, the “Gor” books written by John Norman.
Suffice it to say without going into detail that some of them I enjoyed and others I shook my head in downright disbelief that they ever got published. I can happily say that DIRE PLANET by Joel Jenkins is one that I’m glad got published as it’s a wonderful example of what New Pulp is about. Joel embraces the conventions of Burroughsian Planetary Romance but it does it with a modern-day eye. As a result, it’s a book that at once feels familiar and fresh. Just when you think you know which way the plot is going to go, Joel manages to find another fork in the road that takes you someplace else.
The Earthman taken from his native world to the planet Mars this time around is Garvey Dire and he doesn’t get there by mystical means. He gets there by spaceship, the NASA Mars Orbiter. Garvey Dire’s mission is not just one of exploration and discovery. His mission is one of vital importance to the continued security and safety of The United States. China wants to establish their own base on Mars. And so the race is on.
It’s a race that ends in disaster when Garvey’s ship crash lands on Mars. With his leg broken, losing air and blood, it seems as if Garvey’s story is over. But that all changes when he sees the image of a gorgeous green skinned swordswoman in armor. And it’s because of that image his life is saved as he’s transported 50,000 years back into the past and to a Mars unlike any he’s ever dreamed of.
It’s all here; flashing swords against ancient super science. Hideous beasts and their even more hideous masters. Noble warriors battling against grotesque humanoid creatures of astounding cruelty. Captures. Chases. Escapes. Fates worse than death. Romance. Garvey Dire finds it all on ancient Mars.
But what really makes DIRE PLANET a cut above other Burroughs inspired Sword and Planet stories is the political element. Once Garvey gets hurtled back to ancient Mars, Joel doesn’t forget the U.S./China conflict and indeed, the way he cuts back and forth between the two time periods is in true Burroughs tradition as he was expert at juggling two sets of characters, leaving one set in a nail-biting cliffhanger at the end of a chapter then bouncing over to the other set of characters for a chapter then leaving them in an inescapable trap then going back and-
Well, you get the idea. It’s a good technique that never failed to work for Burroughs because it’s a surefire way of keeping the story moving. Joel manages to resolve the conflicts in both time periods in a manner that while it’s clever it also involved just a little too much bouncing back and forth through time for my taste. Not that I’m opposed to time travel, mind you. But I think that Joel figured that the only way out was to pinball various characters back and forth between the two time periods. It’s a little bit dizzying but hey, if you’ve hung on with Garvey Dire all that way, you’re going to go on to the end and you won’t be disappointed.
I can’t finish this review without mentioning two of my favorite bits in the book; Number one is the revelation of who The President of The United States is. And number two is that Joel apparently is psychic because he predicted one of the most popular devices in use today way back in 2005 when this book was first published.
So should you read DIRE PLANET? You certainly should. If you’ve never read anything by Joel Jenkins this is the perfect place to start. Joel has been writing what we’re now calling New Pulp as long as I’ve known him and we’re talking roughly around 20 years. And in all that time he’s built up quite the respectable amount of work. DIRE PLANET is one of his best.
Visit Joel’s Amazon Page to pick up your copy of DIRE PLANET and check out his other books as well while you’re there
Bobby Nash is a writer that has always impressed me with his versatility. You name it, he’s probably written it. New Pulp, Classic Pulp, Science Fiction, Planetary Romance, Mystery, Horror, Hard-Boiled P.I. Thrillers. And in a variety of formats; novels, novellas, comic books, graphic novels. He’s also acted in a number of movies and television shows. Just going over his resume makes me feel like a lazy bum.
In the interest of full disclosure, this review started out as a blurb Bobby asked me to write for him. I had read SNOW FALLS sometime last year but to refresh my memory before I wrote the blurb I sat down to read it again. And SNOW FALLS at 110 pages is a pretty fast read, thanks to Bobby’s can’t-put-it-down prose. And a funny thing happened…the more I read, the more I started taking notes and before I knew it I said; “Ah, screw it…might as well write a fargin’ review.” That’s how my brain works. Ask me to write a short story and you’ll end up with a novella. Ask me for a novella and you’ll get a novel. Ask me for a novel and you’ve really made an error in judgement because you’ll most likely find a trilogy in your lap.
Undercover agent Abraham Snow is forced to take an early retirement thanks to being shot twice by Miguel Ortega, an international crime lord who must employ the same press agent Keyser Soze uses. After a long and painful period of recuperation he returns to his hometown of Atlanta, Georgia to continue to rest, heal and reconnect with his family. And quite the family it is. Abraham’s grandfather Archer created Snow Security Consultants which has grown from a local security consulting firm to an international one. It’s now run by Abraham’s dad, Dominic. Father and son don’t get along. Grandpa tries to mediate but he’s much better at doing that in the boardroom than with his own family. But Abraham doesn’t really mind all that much that dear old dadums isn’t glad to see him. Baby sister Samantha and baby brother Doug are more than happy that their big brother has returned to the family business.
Abraham insists that he has no such plans. He just wants to rest and recuperate. He’s still not back up to being 100% physically and the psychological effects of being shot are still fresh in a mind continuing to cope with such a frightening event. But an attempt on the life of Owen Salizar, a billionaire biochemist suspected of secretly funding terrorist groups pulls Abraham back into his old life. Good thing he’s got his family backing him up this time around.
SNOW FALLS plays out like the prose version of a pilot for a 1970s action/adventure TV show and Bobby makes no secret about that. And being a lover of 1970s action/adventure TV shows, I had no problem with it. The relationship between Abraham and his grandfather has echoes of the relationship between Lee Horsely and Buddy Ebsen in “Lee Houston” (although I visualized Archer Snow as Dennis Farina). Being a screenwriter as well as a novelist I imagine that Bobby knows exactly what will transfer well from one medium to another.
And I applaud Bobby for giving us a character that is not yet another Mike Hammer clone or a loner ex-cop crippled with guilt, a drinking problem and an ex-wife. Not that I’m against those types of characters but it is refreshing to have a character in this genre who has a different set of issues to deal with. It’s also nice to see a character in this genre who has family that he gets along with (mostly) and who isn’t an orphan. Again, not that I got a problem against those characters. After all, many of our greatest pop culture heroes such as Batman, Superman, Tarzan, Sherlock Holmes and James Bond were orphans. But a hero with family has a different worldview and mindset than an orphan and it reflects in his thoughts and actions.
That’s not to say I’m totally in love with SNOW FALLS. It’s set in Atlanta but I really didn’t get much of a feel of the city or what makes it unique. Oh, Bobby makes Abraham’s love of the city clear but I never got a feel of why. I’ve been in Atlanta many times myself as my sister lived in Covington for about ten years so I would visit her often. Atlanta is a terrific setting for fiction and I’d like to see Bobby exploit it more.
I also like a bit more description in my prose. Bobby works hard at helping us visualizing his characters and defining their relationships. And his prose is wonderful to read. It sounds very natural and there are passages where Bobby doesn’t tell you who is talking to whom because after a certain point, he doesn’t need to. I could tell from the dialog who was talking. But there were spots where I was fuzzy on where the events were taking place and I could have used some help in orientation.
But then again, SNOW FALLS is meant as introduction to Abraham Snow and his world and at 110 pages it’s a solid introduction that makes me want to dive into the sequels right away. Give SNOW FALLS a try and I think you’ll feel the same. If you’ve never read anything by Bobby Nash before, this is an excellent gateway drug to his work. Enjoy.
There’s a wonderful story told about the filming of the classic 1946 Humphrey Bogart/Lauren Bacall murder mystery “The Big Sleep.” The plot of the book was so convoluted that in translating it from print to screen, director Howard Hawks and his screenwriters William Faulkner, Leigh Brackett and Jules Furthman discovered that not only were they not entirely clear as to who the killer of Sean Reagan was, they also had a dead chauffeur on their hands and they couldn’t figure out who killed him. In desperation they contacted the writer of the book, Raymond Chandler to ask him who killed Sean Regan and the chauffeur and Chandler had to admit that he himself didn’t know.
Indeed, there’s a terrific bit of business right in the middle of “The Big Sleep” where Bogart’s Philip Marlowe is called into the Los Angeles D.A.’s office to explain the case to him and by extension to the us, the audience. Because by the time we’ve reached that point of the movie the filmmakers felt that there needed to be some kind of summary of what happened so that audiences back then could take a breath and feel they were up to speed on what the hell this movie was all about.
I feel kinda the same way about Raymond Embrack’s impressively deranged BARRACUDA: A PETER SURF NOVELLA. Halfway through it needs somebody to hold up both hands, yell “Hold everything, please!” and summarize the plot. And trust me, I mean that in a good way. Because in the same way that “The Big Sleep” is now regarded as a classic of the private eye genre, I think that BARRACUDA in its own way is going to become a classic. And Raymond Embrack is a writer to watch.
Peter Surf is a private eye living and working in Blonde City, a California city that seems to be entirely made up of linked beaches each with their own distinctive personality. Blonde City itself is one of the best characters in the story, inhabited by gangs such as The Schoolgirl Mafia who commit thrill killings while hopped up on Hentai-14 and The Beach Mafia whose members worship The Beach Boys to the extent that all of them have the last name of “Smile” in honor of Brian Wilson’s epic project. It’s a city that seems made up out of equal parts of 1950’s, ‘60’s and ‘70’s pop culture with a healthy heaping dose of whatever the hell Raymond Embrack felt like throwing in and believe me, he makes it works. And for me watching him make it work was one of the fun things about reading this story.
Peter Surf himself is…well, the best way to describe him is if you imagined Mike Hammer created by Quentin Tarantino instead of Mickey Spillane. He lives and works out of a converted, arsenal filled service station and he doesn’t so much as do straight up detective work as wreak havoc among his enemies until somebody yells “uncle” and tells him what he wants to know.
And the havoc is profane, sexy and violent and I wouldn’t have it any other way. The story begins with Surf investigating a terrorist group called T-Unit. They’re terrorizing the private eyes of Blonde City. They’re running some out of town and outright killing others. They make the mistake of terrorizing Surf instead of killing him. From then on, Peter Surf becomes a one man wrecking crew on the warpath of T-Unit.
How this is all tied with the DEA, a particularly dangerous man named Gronsky and Blue Mermaid, a type of maryjane so mythical it’s supposed to be able to heal people I would not dream of telling you. Just be advised that by the time you reach the halfway point of BARRACUDA you may be tempted to say, “Hold everything, please!” go back to the beginning and start reading all over again just to make sure you know exactly what is going on.
That’s because Mr. Embrack writes like this was the only book he was ever going to write in his life. There’s an astounding amount of vibrantly alive characters, situations and concepts that other writers would have spread out over a trilogy. BARRACUDA is never boring and never lags due to the constant and unending stream of sheer delightfully WTF plot twists Mr. Embrack throws at us with glee.
The dialog is pure classic P.I. genre porn where everybody talks like a dame or a smartass or a tough guy. And Mr. Embrack allows himself to have fun with his concepts, his prose and the dialog. I like to think that I can tell when a writer had fun writing a story because that fun can’t help but translate into the prose. And if Raymond Embrack has half as much fun writing BARRACUDA: A PETER SURF NOVELLA as I did reading it then he had a big ol’ barrel of fun indeed. Highly recommended reading.
I do gotta point out that this is not for those of you who are PC minded or who object to graphic language, violence and/or sex. But if you want to read a really good crime/P.I. story that reminded me a lot of “Sin City” on crack you can’t do better than BARRACUDA: A PETER SURF NOVELLA.
Having read four of his books now and one of them twice I think it’s safe to say that I’ve become a fan of Raymond Embrack. It’s always such a pleasant surprise to discover a writer who really makes me sit up and pay attention to what he’s doing and Raymond Embrack certainly does that. Why do I like his writing so much? I think it’s because he has that Swing For The Fences quality I always enjoy reading. Each and every one of his books I’ve read so far reads as if he’s afraid he’ll never write another one again and so they’re stuffed with off the wall characters, wild ideas and wilder concepts. Add to that playful dialog married to descriptive passages and labyrinthine plot twists that I do think he gets carried away with at times. But we’ll get into that later on. Right now let’s get into the plot of EL MOROCCO.
It’s the swingin’ hepcat 1960’s and Guy Roman is a hot up-and-coming comic working Atlantic City. He’s not quite big time yet but he’s on his way. Until he gets derailed by New Jersey wiseguy wannabe Jackie Rockafero who blatantly hijacks Guy’s comedy routine as he thinks it would be fun to trade leg-breaking and loan sharking to be a stand-up comic. Naturally Guy takes exception to this. Jackie offers Guy gold or lead. Guy takes lead and winds up left for dead in a filthy A.C. alley alongside the ridiculously gorgeous showgirl Tess Revere who has also pissed off Jackie in a way I would not dare dream of revealing here.
Once he recovers, Guy, along with the brain damaged but still recovering Tess heads to Los Angeles where Jackie has become a comedic megastar. Guy’s intention is to not only take back his act but to make Jackie Rockafero sorry he was ever born. The conflict between them escalates into a major war that before it’s over involves the Hollywood film industry, celebrity gangster Mickey Cohen, crooked gossip columnists, high powered agents who are little more than scam artists and the West Coast Mafia a.k.a. The L.A. Set.
One of the things that makes EL MOROCCO so much fun to read is Raymond Embrack’s affinity for the language, attitudes and feel for the 1960’s. His characters all have a wonderfully smart-ass way of talking and yet he manages to not have them all sound the same. Everybody’s a smart-ass in their own way, if you know what I mean. And the characters and tone of the book are totally authentic to the time period. So those of you who are actively PC should be warned. The people in EL MOROCCO talk, act and think like people who lived in the 1960’s talked, acted and thought and I wouldn’t have it any other way. I’m actually more comfortable with that than with books that are supposed to be set in the 1930’s, 40’s, ‘50’s or ‘60’s but are peopled with characters from the ‘00’s.
What else can I say to recommend the book? Raymond’s way of writing is one where he’s clearly having fun with language and with words. He obviously enjoys the way he’s telling the story in the language and style and rhythm of the dialog and description. It’s really enjoyable to read his prose as it sings and swings with the patois of 1960’s hipster jive talk.
What’s my only quibble with the book? Remember earlier when I mentioned that Raymond gets carried away with plot twists? The plot twists at the conclusion of EL MOROCCO come so fast and there are so many of them that I felt he was pushing it and I was wondering if he was deliberately trying to see how many plot twists he could throw in there before they collapsed under their own weight. But that’s okay. Above all, I like and admire Raymond Embrack for his sheer audacity and willingness to take the chance of going too far with his bizarre plots and outrageous characters. It’s always more fun to read a writer who isn’t afraid to Go There instead of one that offers up easily digestible prose that is no more exciting to read than recycled oatmeal is fun to eat. He’s an extremely entertaining writer and if you’re going to start reading him, EL MOROCCO is a great place to start.