Showing posts with label Allan (Ted). Show all posts
Showing posts with label Allan (Ted). Show all posts

07 October 2016

Canadian Notes & Queries en couleur



The new Canadian Notes & Queries arrived in the post a couple of days ago. The first colour issue – after forty-eight years in glorious black, white and grey – 'tis truly a thing of beauty.


My contribution, this season's Dusty Bookcase on paper, was inspired by the centenary of Ted Allan's birth this past January. The Gazette did not recognize, but I did. Of all the Allan titles in my collection, the focus of the column was the one that had remained unread: Don't You Know Anybody Else? It's a slim volume of short stories, published in the wake of Allan's fraudulent Stephen Leacock Medal win. Disturbing, though perhaps not so much as his original Love is a Long ShotDon't You Know Anybody Else? it is one of those books sold as something it is not. 


In the same issue, I've contributed to a new feature: "What's Old: Notable CanLit reissues & offerings from the country's antiquarian booksellers". Still more retro goodness is to be found in Stephen Fowler's exhumation of Let's All Hate Toronto, a "narration, illustration and exhortation" by Jack McLaren.


Wish I could join in, but I can't... our daughter was born there. God Bless Women's College Hospital, I say!

Other contributors include:
Mark Callanan
Peter Dubé
Alison Gilmour
Amanda Jernigan
Shaena Lambert
Colette Maitland
David Mason
Shane Neilson
Diane Obomsawin
Laura Ritland
Patricia Robertson
Anakana Schofield
Seth
Patricia Smart
J.C. Sutciffe
Bruce Whiteman
Finally, it would be a great mistake to not mention Jason Dickson's interview with bookseller and poet Nelson Ball. I've drawn on Nelson's extensive knowledge of obscure CanLit so very many times in writing the Dusty Bookcase; what's more, he has provided me with many of the books covered here over the years. Just last week, Nelson sent me these two by Kenneth Orvis, the subject of a future CNQ Dusty Bookcase.


How's that for a tease?

Subscriptions to Canadian Notes & Queries can be purchased through this link.

Related post:

26 January 2016

Remembering Ted Allan on His Hundredth



Today marks the centenary of Ted Allan’s birth. Though our lives overlapped by more than three decades, the only time I actually laid eyes on the man was at the 1993 Richer Roast. The venue was the Oval Ballroom of the Ritz-Carleton, the very same space that would one day serve to host the Panofsky wedding reception in Barney's Version. 

Would that I could remember Allan's speech. The only bit – and it was a bit – that has remained with me is the end: "Mordecai,” said Allan, turning to the roastee, “do me a favour. Next time someone compliments you on Lies My Father Told Me, would you please correct them."

Laughter.

Two decades after the man's death, it's still for Lies My Father Told Me – as short story, film and play – that Allan is best remembered. So many other works have fallen by the wayside, but there is reason to hope. Where seven years ago not one of his books was in print, we now have two: The Scalpel, The Sword (Dundurn, 2009), the Bethune biography he co-authored with Sidney Gordon, and This Time a Better Earth (U of Ottawa Press, 2015), Allan's 1939 debut novel. The latter is particularly welcome… so rare was it that the author himself didn't own a copy.

In celebration of the day, recognition of the five Ted Allan books that remain out of print. All are worthy of revival, but none more so than Willie, the Squowse. Honestly, how is it possible that it isn't in print?

Love is a Long Shot
Alice K. Doherty [pseud Ted Allan]
Toronto: News Stand Library, 1949
Quest for Pajaro
Edward Maxwell [pseud Ted Allan]
London: Heinemann, 1957
Willie the Squowse
Ted Allan
Illustrated by Quentin Blake
Toronto: McClelland & Stewart, 1978
Love is a Long Shot
Ted Allan
Toronto: McClelland & Stewart, 1984
Don't You Know Anybody Else?
Ted Allan
Toronto: McClelland & Stewart, 1985

Related posts:

04 November 2014

Nothing Says Violence Like Harlequin



Violence sells but I'm not buying, which may be why it's taken me so long to see just how much it was used in pushing early Harlequins.

As near as I can tell, the publisher began using violence as a selling point with its third book, Howard Hunt's Maelstrom. We remember Hunt today as one of Richard Nixon's plumbers, forgetting that the man was once awarded a Guggenheim Fellowship (whereas Truman Capote and Gore Vidal were not). His third novel, Maelstrom, was first published in 1948 by no less a house than Farrar Straus. Sure, the dust jacket was garish, but c'mon, Farrar Straus!

By contrast, the Harlequin edition issued the following June (four months before Hunt joined the CIA), seems bland… that is, until you read the tagline:


Harlequin used 'violence" in flogging all sorts of titles, no matter how unlikely. Its cover copy for Ben Hecht's Hollywood Mystery promises a plot in which "violence and murder intermingle with wacky situations." Lady – Here's Your Wreath by Raymond Marshall is a "story of violence, mystery and sudden death". Marshall's Why Pick On Me? was pitched with promises of "Punch, Action, Violence!" And, in event that you missed it the first time, Harlequin uses the word twice  in consecutive sentences  in describing James Hadley Chase's No Orchids for Miss Blandish:
This is a fast moving very shocking crime story, which tells of a young and glamorous heiress, whose beauty excites a gang of brutal mobsters to such an extent that they leave a trail of death and destruction in their efforts to kidnap and debauch her. The detective, Dave Fenner, is called in to crack the case, and matches the sadistic brutality of the gang with his own particular brand of violence. This is definitely not a book for the faint-hearted who cannot stand explosive violence and action.
Chase is a special case. With I'll Bury My Dead, we're promised a tale of "murder and violence". Figure It Out for Yourself finds hero Vic Malloy "snarled up in a vicious vortex of murder, glamorous women and violent non-stop action". Twelve Chinks and a Woman, the title Harlequin would really like us all to forget, finds sleuth Dave Fenner descending into a "merciless violent Underworld".


Then there are the covers.

The Harlequin cover for Manitoba boy A.E. van Vogt's The House That Stood Still ranks with News Stand Library's Love is a Long Shot and The Penthouse Killings as the most disturbing and violent ever produced in this country. But those News Stand Library books are anomalies; in truth, the covers of Harlequin's early rivals rarely depicted violence. The typical New Stand Library book promises sex. On rare occasions  as with Too Many Women or Overnight Escapade  the two very nearly intersect, but never do. These News Stand Library covers suggest the possibility of violence, while those of Harlequin depict actual acts or the bloody results of same.

The ten Harlequins that follow give good example, each one typical of a time in which the publisher put forth brutal sagas of love and violence  and not slight stories of brutal love.

Maverick Guns
J.E. Ginstead
1950
The Case of the Six Bullets
R.M. Laurenson
1950
The Cold Trail
Paul E. Lehman
1950
Fall Guy
Joe Barry
1950
She Died on the Stairway
Knight Rhodes
1950
Wreath for a Redhead
Brian Moore
1951
The Dead Stay Dumb
James Hadley Chase
1951
False Face
Leslie Edgley
1951
Hunt the Killer
Day Keene
1952
The Body on Mount Royal
David Montrose
1953

03 June 2014

Milton Douglas, Canadian Author?



Sin for Your Supper
Milton Douglas
Toronto: News Stand Library, 1949

Milton Douglas was a friend of John Glassco. If one is to believe the poet – and I don't – the two met briefly as young men in Paris, then recognized each another on a street in small-town Quebec several decades later. Again, I don't believe it, nor do I believe that the author of Sin for Your Supper is the same Milton Douglas.

The time spent reading this cheap paperback, something so clearly beneath me, is part of a renewed effort to uncover unrecognized Canadian novels. My method is simple: look into titles and authors that were published by Toronto's News Stand Library and no one else. Might these authors be fellow countrymen and women?

The great hope, of course, is that something – anything – might be familiar. Lest you think this is folly, consider Ted Allan's pseudonymous  Love is a Long Shot (1949), the News Stand Library title recycled in the 1984 Leacock Medal-winning novel.

Michael P.J. Kennedy has a very good article about the similarities between Waste No Tears, which Hugh Garner (a/k/a Jarvis Warwick) published with News Stand Library in 1950, and his short stories "The Yellow Sweater", "Lucy" and "Mama Says to Tell You She's Out".

(After more than six decades out-of print, Waste No Tears is again available. You'll find more info here. Yes, that's a plug.)

Mine is a summer project…  begun before summer. The first book read in the pursuit of heretofore unrecognized Canadiana was Stephen Mark's Overnight Escapade (1950). Was Mark Canadian? Vancouver, Prince George, Saskatoon, Halifax and Ronald J. Cooke's Craig Street figure in his fiction, but then so too does the segregated American South.

Gerry Martin's Too Many Women (1950) was second. It takes place in Hamilton, Niagara Falls, Buffalo and some undisclosed location on the shores of Lake Ontario.

Toronto is mentioned.

I recognized nothing in the writings of Mark and Martin, and am pretty sure that neither is W.O. Mitchell or Earle Birney. But really… Stephen Mark, Gerry Martin and now Milton Douglas. Those names have gotta be fake, right?

Sin for Your Supper is set apart from Overnight Escapade and Too Many Women in that Canada is barely mentioned. The action takes place almost entirely in  Manhattan, where ne'er-do-well Jimmy Martin – there's another of those names – preys upon rubes, drunks and harried cashiers. More than a grifter, he carries a gun and is not afraid to shoot a woman in order to get what he wants. Or so he says.

I don't think I've ever had less to say about a book – which is good because this post risks running long. Sin for Your Supper drifts aimlessly with Jimmy moving from scheme to scam and doll to dame. On a whim he kidnaps leggy Betty McGregor. Threatening with his Luger, he forces her to drive out to the country, then changes his mind. They become lovers because, I suppose, she has a thing for bad boys. That same evening, over drinks at the Hunt Club, Betty asks Jimmy why he does what he does.
"I don't know," Jimmy explained. "It's just something inside of me. I think the main reason is that it isn't boring."
But it is boring. Jimmy's unpredictability becomes predictable, actions lead nowhere, and the prose is pedestrian. To be fair, there are times when the author really tries, as in chapter ten, which is reproduced here in full:


What more can be said? Well, early in the novel we're treated to the step-by-step process through which Jimmy parleys a dollar bill into a room and steak dinner at the St Moritz.

That was pretty interesting. More than the sex scene, at least.

I suppose I should point out that the real name of Glassco's friend was Milton Kastilo.


Object: Another News Stand Library book – and you know what that means –  this one in particular is poorly produced in that the back cover has a faint print overlay bearing the stylized title for Shack-up Girl (NSL #48).

Access: One of the News Stand Library titles that had separate Canadian and American editions. The cover for the latter is interesting in that features… well, there's no telling which one of Jimmy's women that's supposed to be. A bait and switch, it hints at lesbianism, right? Perhaps that's just me.

WorldCat records just one copy – the American – which is held at the British Library.

I don't see any copies of the Canadian being offered online right now, though there are six of the American, running from US$4.00 and US$22.00. Condition explains everything.

24 March 2014

Of Montreal, Notes and Queries



Spring arrives, bringing a new issue of Canadian Notes & Queries. Number 89 – for those keeping count – this one is devoted to Montreal, the very finest city in all the Dominion.

There, I've said it. Again.

My column this time around is a modest introduction to the city's post-war pulp novels, ten in total, published between August 1949 and December 1953.* A remarkable, all too brief period, it saw the first two books by Brian Moore, the second by Ted Allan, and the debut, wet decline and soaked disappearance of Russell Teed, Montreal's greatest private dick. Regular readers will recognize the titles, all of which have been featured here these past five years:


The House on Craig Street
Ronald J. Cooke
Winnipeg: Harlequin, 1949 






Love is a Long Shot
Alice K. Doherty [pseud. Ted Allan]
Toronto: News Stand Library, 1949






Sugar-Puss on Dorchester Street
Al Palmer
Toronto: News Stand Library, 1949








The Mayor of Côte St. Paul
Ronald J. Cooke
Toronto: Harlequin, 1950








Wreath for a Redhead
Brian Moore
Winnipeg: Harlequin, 1951








The Crime on Cote des Neiges
David Montrose
     [pseud. Charles Ross Graham]
Toronto: Collins White Circle, 1951








The Executioners
Brian Moore
Winnipeg: Harlequin, 1951








Flee the Night in Anger
Dan Keller [pseud. Louis Kaufman]
Toronto: Studio Publications, 1952









Murder Over Dorval
David Montrose
     [pseud. Charles Ross Graham]
Toronto: Collins White Circle, 1952








The Body on Mount Royal
David Montrose
     [pseud. Charles Ross Graham]
Winnipeg: Harlequin, 1953







Other contributors to CNQ #89 include: Meaghan Acosta, Asa Boxer, Kate Beaton, Michel Carbert, Bill Coyle, Jesse Eckerlin, Trevor Ferguson, Elizabeth Gill, Mary Harman, Kasper Hartman, David Homel, Cory Lavender, David Mason, Donald McGrath, Leopold Plotek, Eliza Romano, Robin Sarah, Mark Sampson, Norn Sibum, Marko Sijan, JC Sutcliffe, Zachariah Wells, Kathleen Winter, and Caroline Zapata.

The country's very best magazine vendors are selling CNQ #89 for $7.95, but what you really want to do is take out a one-year subscription – available here – at twenty dollars. In so doing you will not only ensure that the magazine is brought directly to your door or post office box, but will also receive a subscriber-only collectable. This issue it's "Mountain Leaf" by Peter Van Toorn. Friends will be envious.
* I'm following the OED here: "popular or sensational writing that is regarded as being of poor quality". Letters of complaint should be sent to oed.uk [at] oup.com.

23 April 2013

Our Strangest Novel?



Toronto Doctor
Sol Allen
Toronto: Rock, 1949
390 pages

This review, revisited and revised, now appears in my new book:
The Dusty Bookcase:

A Journey Through Canada's

Forgotten, Neglected, and Suppressed Writing
Available at the very best bookstores and through

17 July 2012

Talking Montreal Noir with Nigel Beale



Audio of my recent interview with Nigel Beale can be found here. Lots of talk about Brian Moore, Ted Allan, News Stand Library, Véhicule's Ricochet Books series and more!

23 December 2011

Pulp Noir à Montréal



The new edition of Canadian Notes & Queries lands, and with it comes another Dusty Bookcase sur papier. This time the spotlight plays upon Ted Allan's Love is a Long Shot. Not the Love is a Long Shot for which he was awarded the 1984 Stephen Leacock Medal, but a cheap, pseudonymous pulp novel from a quarter-century earlier.

Published by News Stand Library in September 1949, two months before newspaperman Al Palmer’s Sugar-Puss on Dorchester Street, this Love is a Long Shot holds the distinction of being the first pulp noir novel set in Montreal. As I write in CNQ, it ain't that pretty at all. The cover depicts, but doesn't quite capture, one of the darkest, most horrific scenes in any Canadian novel.


There's more to the issue, of course, including new fiction by Nathan Whitlock, new poetry by Nyla Matuck and – ahem
praise for A Gentleman of Pleasure from George Fetherling.