Showing posts with label Garner. Show all posts
Showing posts with label Garner. Show all posts

06 February 2014

Unsettling Garners



Hugh Garner's pseudonymous second novel, Waste No Tears, goes to press next week, returning after a sixty-four year absence as part of the Véhicule Press Ricochet Books series. I'm proud to have played a part in its resurrection, and am particularly pleased with myself for having asked Amy Lavender Harris to pen the Introduction. Anyone at all familiar with her work will understand.

Waste No Tears is not a feel-good novel, but then one would never expect such a thing from a book pitched as "The Novel about the Abortion Racket". The cover, by unappreciated Winnipeg boy Syd Dyke, has haunted me from the day I first set eyes on it.


Published in 1950 by Toronto's New Stand Library, it's a rare book – so rare that two decades later George (then Doug) Fetherling had to give it a pass when writing on Garner for Forum House's Canadian Writers & Their Works series:
It is a novel so scarce that it cannot be found in Canada's largest public library, it's largest university library or even the National Library's copyright deposit.
Odd thing about Garner: his books were graced with some of the most disturbing images. He was, of course, a Governor General's Award-winner, once considered one of our greatest short story writers, but you'd never know it to look at these.

Hugh Garner's Best Stories
Richmond Hill, ON: Pocket Books, 1971
A Nice PLace to Visit
Toronto: Ryerson, 1970
A Nice Place to Visit
Richmond Hill, ON: Pocket Books, 1971
Violation of the Virgins
Toronto: McGraw-Hill Ryerson, 1970
Violation of the Virgins
Richmond Hill, ON: Pocket, 1975
Out of print, each and every one. Well, next month Waste No Tears will be available again, in original cover tweaked to give Garner his due. Pre-orders are being taken by the usual sources.


Can't wait? There's a decent copy of the original New Stand Library edition listed online. But it'll cost you US$249, and it won't have Amy's Introduction.

Related post:

11 March 2013

A Not So Nice Place to Visit



The Sin Sniper
Hugh Garner
Richmond Hill, ON: Pocket Books, 1970

From the back cover:


So what's he doing writing a cheap paperback original?

The answer is going full circle and then some – past Storm Below, his 1949 hardcover debut, to Waste No Tears(1950), Cabbagetown (1950) and Present Reckoning (1951). Paperback originals all, the latter three brought more money than would've been garnered – sorry – through higher literary endeavours. It's true that Storm Below did the author well, but not in an immediate sense. A man needs to eat... and drink.

Garner's seventh novel, The Sin Sniper landed just months after his sixth, A Nice Place to Visit (1970). It enjoyed a higher print run, more editions, and as Stone Cold Dead, would eventually be adapted for the screen in a film starring Richard Crenna, Paul Williams and Linda Sorensen.



Robert Fulford, who had a certain respect for Garner, was none too impressed. Writing in the Ottawa Citizen (5 November 1971), he dismissed The Sin Sniper as "close to being dreadful", adding "one was left with a nothing but baffling sense of being told to go left on Sumach, or right on Dundas, or left on Parliament."

I see what he means. This is the novel's opening paragraph:
Detective Inspector Walter McDurmont of the Metropolitan Toronto Police homicide squad jockeyed his three-year-old Galaxie along Dundas Street East in the morning rush-hour traffic. He crossed the Don River over the Dundas Street bridge, swung left down River Street, made a right turn at Shuter, and stopped when confronted with the raised stop-sign of the school crossing guard at Sumach Street, near Park Public School.
Lest you get lost, the book features a map that looks to have been ripped from a city directory.


Garner's setting is Toronto's Moss Park neighbourhood. The premise is found in the title: a sniper is murdering prostitutes. First to die is Claudia Grissom, whose snow-covered body is found early one morning near the corner of Shuter and Jarvis. Bernice Carnival is shot the next day (Dundas Street, one block from the Dainty Dot, just the other side of Church).

Those looking for a good mystery will be disappointed. There's little detective work here; McDurmont banks pretty much everything on catching the sniper in the act. While he comes to focus the investigation on three suspects, one of whom proves to be the sniper, nothing is provided that might justify the decision.

What saves The Sin Sniper is that the characters driving and walking through the streets of Toronto, turning left and veering right, are real people moving between real places. I'm not suggesting that this is a roman à clef, but I'm certain that Garner, a self-confessed alcoholic, drew heavily on the folks he met in drinking establishments, just as I'm certain that the drinking establishments in the novel would be recognizable to Torontonians of a certain age.

A Torotontonian of a certain age himself, Robert Fulford would know much better than I just how true the novel is to the people and places of Moss Park. I enjoyed the tour as much as the encounters. Fulford concludes his dismissal of The Sin Sniper by writing that the only mystery about the book is that it was published. To me, the answer is obvious: Money. Pocket Books recognized this, as did Paperjacks with their reissue, as did the investors in Stone Cold Dead.

Meanwhile, we're still awaiting the screen adaptation of Storm Below.

Money.

Trivia: Set in 1965, the climax of the novel takes place the same day as the Mersey Mops (read: The Beatles) play Maple Leaf Gardens. Garner moves the concert from the summer to the winter.

Outside the Beatles' 19 August 1965 concert, Maple Leaf Gardens, Toronto.
More trivia: Stone Cold Dead was written and directed by George Mendeluk, who would the next year take on Charles Templeton's The Kidnapping of the President.

Object: I bought my copy for $3.95 this past February 23rd, the day after what would have been Garner's hundredth birthday. A first edition, it features this misleading notice:


Access: Well represented in our university libraries. Decent copies of the first edition are plentiful and begin at $6.00. The 1978 movie tie-in, as Stone Cold Dead, is less common but just as cheap.

10 January 2013

Dope Rings in Canada! Oh My!



Die with Me, Lady
Ronald Cocking
Toronto: Harlequin, 1953
224 pages
This review now appears, revised and rewritten, 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


07 December 2010

Many Happy Returns



The Ottawa Citizen, 3 December 1960

McClelland and Stewart's Christmas offerings from half-a-century ago. Only This Side Jordan is in print today. Pity that, Robertson Davies' A Voice from the Attic is a particularly good match for a snowy winter's day. "A witty, robust and wonderfully opinionated book on the joys of reading and the author's own offbeat likes and dislikes." There is truth in advertising.

Which of this fall's McClelland and Stewart titles will be in print in 2060, I wonder. I'm betting against Ezra Levant's Ethical Oil (and even 2009's Shakedown, which I was once told "belongs in the category of Uncle Tom's Cabin".)

My recommendations for this season's gift-giving favours presses that are hard at work mining the neglected riches of our past.

First up, Véhicule, which this fall launched its Ricochet Books series of pulp fiction reprints. (Full disclosure: I'm consulting editor for the series.)

The Crime on Cote des Neiges
David Montrose
The series debut, returning Montrose (Charles Ross Graham) to print after after an absence of more than four decades. Originally published in 1951, this edition includes a foreword by yours truly.

Two blondes, one brunette, a roadster and a whole lotta Dow. It doesn't get much better.


Murder Over Dorval
David Montrose
Foreword by Michael Blair
"In one hand she held a plane ticket to Montreal, in the other a wad of greenbacks. She was a gorgeous looking redhead. For the sake of her lovely green eyes, Russell Teed took the plane and the money. But it wasn't long before h realized that whatever she had offered, it wasn't worth it."


Recognition of Dundurn's Voyageur Classics series is long overdue. For four years now it's been "bringing forward time-tested writing about the Canadian experience in all its varieties." This year's titles:

Hugh Garner
Introduction by Paul Stuewe








Scott Symons
Introduction by Christopher Elson







Wyndham Lewis
Introduction by Allan Pero








Grey Owl
Edited and introduced by Michael Gnarowski








Note the handy links to the publishers' websites. Of course, all are also available from booksellers, whether online or not, but I'm not playing favourites.

Related post: Books are Best

09 August 2010

The Naked, the Queer and the Starlost




A sharp-eyed friend sends this photo of The Queers of New York, spotted a few days ago in a Toronto used bookstore. Can't say I'm tempted – not at $50 – though I do appreciate the effort. Leo Orenstein's 1972 novel is, I believe, the most sought after Pocket Canadian Paperback Original. Easy to understand why. Who couldn't use a book that features both gay and Yiddish glossaries? For now, I'm happy just to see the cover, which Orenstein himself provided. Not bad.

When I first learned of this novel back in February, I made a bit too much of the fact that Orenstein directed Chekhov, Ibsen and Shaw – pretty much every director working in the early days of CBC television did much the same. The only film the man directed was Have Figure, Will Travel, a low-budget travelogue about three young women who sail a luxury yacht from staid Canada to nudist colonies in the United States.


Orenstein was far more active as a producer than a director, putting together one-off television dramas by names like Ted Allan, Hugh Garner and Arthur Hailey. For the most part, these appear to have been well-received, though this 25 May 1966 Globe and Mail review by Dennis Braithwaite is worthy of note:
I don't see how we can put all the blame on Barry Morse for what happened on Show of the Week Monday night. Morse is an actor and therefore by definition a ham: give any actor his head, free him from all directorial restraints, say to him. "Do as you like, have a ball." give him a plot so sketchy and inane that it can't possibly by hurt, turn him loose on the set with a make-up box and a drawing account on the wardrobe department, close your eyes and ears to the results, and well, if you saw It's Murder, Cherie, you know what will happen. Leo Orenstein produced this show; I want that information prominently displayed.
Could it really have been as bad as all that? Does anyone remember? I ask because it wasn't long after this review that Orenstein stopped working as a producer for the CBC. In fact, this man who had been there right from the medium's earliest days seems to have left television entirely. He returned only briefly, directing two episodes of The Starlost, CTV's 1973 science fiction series. Here's the beginning of the first, "Lazarus from the Mist":




By Canadian standards it was a pretty big deal, though no one seems to have noticed. After the devastating 1966 Braithwaite review, Orenstein's name didn't appear again in our newspaper of record until he died in February of last year. He was eighty-nine.

An aside: An "audacious television concept" says star and pitch man Keir Dullea. Those with who bask in nostalgia and young folks wondering what all the fuss was about may find the Starlost promo to be of interest.



The screen captures of Have Figure, Will Travel come from Canuxploitation, which has an excellent write-up on the film.

Related posts:

25 October 2009

White Circle Canadians (w/ Warning)




In 1943 and 1944, Collins placed some pretty pricey White Circle adverts in the Globe and Mail. I expect these spurred sales, but they appear to have had no effect on editorial – during those same years, there was otherwise no mention of the imprint in the paper. This is known as integrity. Indeed, the "Canadian Classic" piece featured in Thursday's post marks one the very few times White Circle appeared in actual copy. If the somewhat unreliable Globe and Mail search engine is to be trusted, the imprint was last mentioned in its 1 April 1950 edition – and then only in connection with rising star Hugh Garner:


Not much of a notice, but interesting in that
Cabbagetown, which White Circle would publish, is the only mass market paperback original found in the Canadian canon. (Should I be counting Neuromancer?) The piece also reflects a significant difference between White Circle and its Canadian competitors. Harlequin's most acclaimed Canadian writer was Thomas H. Raddall, News Stand Library had... well, Al Palmer, but White Circle published Garner, Stephen Leacock, Hugh MacLennan, Earle Birney, Ralph Connor and Roderick Haig-Brown.

(In fairness to News Stand Library, it did publish Garner's pseudonymous 1950 "Novel about the Abortion Racket", Waste No Tears.)

Six decades later, Garner has dimmed, Connor is little read, and Haig-Brown seems relegated to regional writer status – but Leacock, MacLennan and Birney continue to be celebrated and studied.

In keeping with this month of Thanksgiving, what follows is a final visual feast featuring some of White Circle's more interesting Canadian titles. The pitch on the early Barometer Rising is a favourite. "AS EXCITING A NOVEL AS MAY SAFELY BE PUBLISHED", it begins, immediately contradicting itself with this warning: "A NOVEL OF LITERALLY UNENDURABLE SUSPENSE".

There you have it: not safe at all, but literature's equivalent of Ernest Scribbler's killing joke.


1943 and 1951


1945


1945


1950


1951


1951


1952


1952

1952

My thanks to JC Byers, whose thorough Bibliography of Collins White Circle provided images of titles missing in my own collection.

05 June 2009

News Stand Library Cover Cavalcade



As patrons flock to SoHo's Openhouse Gallery to take in cutting edge art commissioned by Harlequin Enterprises, thoughts turn to News Stand Library. The publisher's early rival, New Stand was much more willing to use sex and scandal to sell its wares. In nearly every way, their books were cheaper, nastier and inferior. It makes perfect sense that Harlequin published Brian Moore's first book, while Hugh Garner's second, the pseudonymous Waste No Tears, came from News Stand. And yet, the two competitors did share a few writers, including prolific pulpist Thomas P. Kelley.


The most valuable of all New Stand titles, Kelley's The Gorilla's Daughter – ' OFFSPRING of MAID and MONSTER' – cannot be had in any condition for under C$400. Its cover is more polished than most; a typical example of the publisher's look would be that found on the author's Jesse James: His Life and Death.


The type is ugly and in places difficult to read. Note that the author's name is misspelt, an error found time and again on News Stand covers. Here we have Bentz Plagemann , author of Each Night a Black Desire, identified as Bentz Plageman.



By my count, a dozen covers suffer similar mistakes. Niel H. Perrin is Neil H. Perrin, Murry Leinster is Murray Leinster and Ursula Parrot is good time gal Ursula Parrott. The cover of Alan Marston's Strange Desire reads 'Strange Desires by Alan Malston'.

Other blunders are more curious, and may reveal the true names behind pseudonyms. Just who wrote Private Performance the Glen Watkins on the cover or the Eliot Brewster credited on the title page? Perhaps the most amusing error is found on the cover of Terry Lindsay's Queen of Tarts, which has the title as 'Quean of Tarts'.


In keeping with the previous post, here are my three all-time favourite News Stand covers. A couple appear to use work produced in a high school art class, but what I find most appealing are the pitch lines above each title. 'Never Will HELL Admit a Gayer Sinner than Laura Warren' reads the first – printed on the cover of a book written by... Laura Warren. An unforgiving editor, perhaps?