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Coming Soon! THE CRUMB COMPENDIUM by Carl Richter

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This book has been a long time coming. Way back in 1995, Mr. Carl Richter, in collaboration with Robert Crumb himself, produced Crumb-Ology: The Works of Robert Crumb 1981-1994, an 81-page hardcover published by Water Row Press. Four years later, he followed up with a supplement covering another four years.



Now, at last, Fantagraphics is publishing Mr. Richter's vastly expanded 320-page work, The Crumb Compendium, and the book will be officially released either Oct. 31 or Nov. 6, depending which website you look at. It's now available for pre-order.



I have no idea what illustrations will be included, so I googled up a few strange and wondrous things to whet your appetite (and mine). 



Here's a description of the book, gleaned from the blog of the same (just a coincidence, I'm told) name:

The Crumb Compendium lists and organizes all of Crumb’s published work to date: comics, papers and other periodicals, books, catalogs, posters, juvenilia, cards and all other printed ephemera. Records and CDs as well as merchandise like buttons, statues and shirts are also included, as well as listings of articles and interviews, characters and comic strip titles and published photographs.



Richter’s research is impeccable — he has been a valued consultant on The Complete Crumb Comics library since its inception — and virtually all listed items were examined first hand without relying on the research of others. Most of the material is from the author’s own collection; other items were examined in private collections and university archives. In a few cases photostats or scans from other collections and institutions were acquired, and Crumb himself served as a consultant to ensure the most accurate information.



The Crumb Compendium will be heavily illustrated with rare pieces from Crumb’s career, making this an essential text for all Crumb collectors and scholars. 320 pages of black-and-white comics and illustrations.


The Crumb Compendium lists and organizes all of Crumb's published work to date and serves as the definitive guide to the work of greatest cartoonist of all time. Comics, periodicals, books, catalogs, posters, juvenilia, cards and all other printed ephemera are included along with records and CD's, buttons, statues and shirts plus listings of articles and interviews. It will be heavily illustrated, making this an essential text for all Crumb collectors and scholars and having had Crumb himself serve as a consultant ensured the most accurate information.






Comic Gallery: THE BLACK KNIGHT

Forgotten Books: THE SEARCH FOR MY GREAT-UNCLE'S HEAD by Peter Coffin (Jonathan Latimer) (1937)

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After sitting on this book for more than thirty years, thinking it was kind of cool to have an unread Jonathan Latimer on hand, I finally decided the time was right. And I have to admit, it wasn't worth the wait.

It's a mystery, of course. You can tell that by the Crime Club logo on the cover. But the real mystery is - why did Latimer write this thing?

As a mystery novel written by a nonentity like "Peter Coffin," it's okay. Far from "The Season's Most Startling and Diverting Mystery Story," as claimed on the cover and title page, but okay. But as a book written by Jonathan Latimer - a fact they took no great pains to disguise - it's a snoozer.


How do we know it's Latimer? Well, you can read the big fat clue on the inside flap of the dust jacket, which I've provided here. But the clincher is that halfway into the book, the protagonist gets a phone call from Colonel Black, the head of a large detective agency, announcing that Black will be joining the cast of the story. This same Colonel Black, as anyone who's read the Bill Crane series knows, is the head of the agency Crane works (between drinks) for.

I can't recall if the Colonel ever appears on stage in the Crane novels, or if he's just a presence in the background and a voice on the phone. But we meet him here, and he's the most insteresting thing about the book. More about him later.

"Peter Coffin," we learn on page 2, is the narrator and lead character of the novel. His uncle Tobias Coffin has just summoned him, and the rest of the clan, to his secluded manor house somewhere in the wilds of Michigan. After a creepy and atmospheric trudge through the forest, he arrives at the estate, where he finds a bunch of relatives he's never met pointing guns at him. It's all pretty much downhill from there.

Some of these relatives are mildly quirky, and others mildly unpleasant, but nothing rising to previous Latimer standards. Nothing much interesting happens except that his uncle's gets chopped off, and, as you know from the title, goes missing.

Peter Coffin is not a detective, and makes no effort to act like one. He's a California college professor specializing in the Restoration period of English history. He spends most of his time being bewildered and worrying about the others thinking him a coward. As the story progresses, that wondering focusses on a certain nice looking Miss Leslie, to whom he is apparently not related by blood. Yes, there's a sniff of romance in the air.

So what we have here is your basic Classic English-style Manor House mystery, with a bunch of not-especially-interesting people shut up with a murderer, wondering whodunnit and waiting for the next inevitable killing. The main thing that sets this one apart is the fact that the killer lops off heads with a meat cleaver rather than employing a rare poison. The minor thing that sets it apart is that there's no compelling reason all these people to stick around, except to offer their necks to the killer. 

So what possessed Latimer to write such a thing? The dust jacket calls it "utterly foreign to his usual work," and that's an understatement. There is no humor. No banter. No carousing. No drunkeness. No fun. I'm guessing he did it on a bet or a dare. Someone told him he couldn't write a Manor House mystery, and he proved them wrong. But so what? He merely proved that he could be ordinary.

Lopping off heads just wasn't enough. He should have gone the whole hog and done a proper send-up of the sub-genre, with his usual recipe of humor, banter, carousing, drunkeness and fun. He had a chance to hit a home run, and bunted instead.

As for Colonel Black, it was nice to see him fleshed out, but he was still only mildly engaging. As a Classic detective, he's an expert in every subject that comes up, including Elizabethan dramatists, fine brandy, flowers, bees and cows. The silliest thing he says is "I try to catch you in a lie, because one of the primary principles of detection is that no one ever lies but the criminal." Jeez, what fictional world is he living in? It can't be the same one inhabited by Bill Crane and Doc Williams.



Meanwhile, I'm curious to know what you think of this little Crime Club booger. After ignoring him for years, and thinking he just looked awkward and uncomfortable, I took a closer look and realized he spells CRIME. Awkwardly and uncomfortably. I know - big whoop. Did somebody think this was pretty cool beans back in the '30s? Maybe it was the editor who proclaimed The Search for My Great-Uncle's Head to be "The Season's Most Startling and Diverting Mystery Story."

BASIL WOLVERTON OUT WEST: Bingbang Buster and his Horse Hedy (1950)

Movie Posters of 1918 (Part 1)

Pulp Gallery: CRACK DETECTIVE

Graham Ingels does LANCE LEWIS, SPACE DETECTIVE (1947)

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Once again from comicbookplus, here's an adventure of my great-great-great grandson Lance Lewis (named by my descendants, no doubt, for Lance Casebeer), as drawn by Ghastly Graham Ingels. This one is from the May, 1947 of Startling Comics (aka No. 45). Of special interest are the cheater panels, where Ingels reuses his own potatohead alien artwork. Can't really blame him, but it was pretty ballsy to do it on successive pages.











Moments in Paperback History: LANCECON '87

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 Lance Casebeer, beer in hand, points the way (probably to the keg).
I have no drinking problem, says his shirt. I drink. I get drunk. I fall down. No problem.


Books . . . 


books . . . 


 . . . more books.

Tom Lesser scores a stack of digests.


The noble profile of Cap'n Bob Napier


Me and somebody's head.


More of the usual suspects.


Bruce Taylor surveys the scene.


The booking never stops . . . 


. . . never.

Murder for auction.


Marilyn makes an appearance.


Who remembers the USFL? Dick Wald does. The Portland Breakers was our pro football team (for almost two whole years).


Lance's legendary basement . . .


 . . .  where it was wall-to-wall paperbacks. 

The Cap'n hoarding his booty.


The guy who put the Lance in LanceCon.

Pics, as always, thanks to the Official Photographer of LanceCon, Arty Art Scott.

Weird Planets of VIRGIL FINLAY

Forgotten Books: CONAN THE DEFENDER by Robert Jordan (1982)

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After picking up The Further Chronicles of Conan at Goodwill recently, containing Robert Jordan's fourth, fifth and final Conan novels, I decided to go back and reread the first two. (I read all six back in the '80s, so for some this is the third time through.)

I jabbered about the first novel, Conan the Invincible, a couple of years ago (HERE), so it's now time to say a few words about the second.

Conan the Defender takes place a year or two after Invincible, and involves two Jordan creations introduced in the first book. Most important is Hordo, a one-eyed former bandit chieftan who's now involved with a smuggling ring. In this book, he ably fills the role of Conan's sidekick and drinking buddy. The other returnee is a flame-haired she-devil named Karela, formerly known as the notorious bandit leader The Red Hawk. She, too, is a good character, but that's all I'm going to tell you about her, because to say more would be a SPOILER. 

Conan, a thief in the fist book, has graduated to mercenary, and has set his sites on forming his own Free Company (which is a whole band of mercenaries). He's left Shadizar behind, and now has just arrived in Belverus, capital of Nemedia. As usual, there are several nubile maidens on hand, and the obligatory evil sorceror dabbling with forces beyond his control. Of greater interest, there's a plot to usurp the throne of Nemedia from an unpopular king.

Robert Jordan made no attempt to ape Howard's style. Instead, he created his own, which lacks the poetry and rhythm of REH, but still has its charms. His Conan is more thoughtful, a bit more scrupulous, and has a wider-ranging sense of humor. He'd be a good guy to go carousing with. Finishing one of these books makes me want to start right in on the next, which is as it should be. 

Strange to say, parts of this story seem somewhat dated, a problem I never encountered in the Howard stories published sixty years earlier. How did this happen? Well, as part of the plot to overthrow the king, the conspirators stir up unrest among the city's artists, poets and free-thinkers. This little band of radicals believes in the power of peace and love, and hopes to bring about politcal change without tarnishing their ideals with violence. How quaint. That may have reflected the climate when this book was published in 1982, but if it were written today the protestors would be wearing masks and helmets, and throwing bottles at the City Guard.

HARVEY KURTZMAN'S Pot-Shot Pete meets the McYetnit Boys (1952)

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This pre-MAD dust-up with Pot-Shot Pete appeared in Billy the Kid Adventure Magazine #9, from March 1952. I found it on comicbookplus, as uploaded by "movielover." Stay tuned. Pete will ride again!

Movie Posters of 1918 (Part 2)

Pulp Gallery: CAPTAIN FUTURE

FRANK FRAZETTA's Dan Brand & Tipi meet George Washington (1949)

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"Blood on the Frontier" was the second adventure of Frazetta's dynamic frontier duo (the first is HERE). It first appeared in The Durango Kid #2 back in 1949, and thereafter had the same history as that first appearance. Want to see more? Twist my arm. Or not. 


Comic Gallery: EL ZORRO 9-16


CHARLIE CHAPLIN Movie Posters (1917-1918)

Forgotten Books: MACHINE GUNS OVER THE WHITE HOUSE by Novell Page (1937)

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To celebrate the publication of Will Murray's all-new Spider novel, The Doom Legion (review coming soon), I figured it time to reacquaint myself with the original. I've read a whole lot of Spider reprints over the years, in a lot of different formats, but it's been a while.

If you're a Spider fan, you know he gets into a lot of bizarre scrapes - battling such crazy villains as the Tarantula, The Fly, The Pharoah, The Red Mandarin, The Death Fiddler, The Cholera King and The Lion Man from Mars, while fighting off such minions as beast men, skeletons and vampire bats.

Machine Guns Over the White House, though, is something different. In this one, Norvell Page (the Spider's busiest racontuer) steps over the line into Operator #5 territory. Instead of the usual wacky weird menace, he pits our hero against a villain attempting a complete political takeover of the USA. (Well, there is a wacky weird menace on hand, too, but he's completely unecessary to the story, and seems to be there only for cover appeal.)

Here's some of the stuff that happens in this novel:
A U.S. Senator blows his brains out on the Senate floor. (And having been there a couple of months ago, it was pretty cool to visualize.) Fifteen movers and shakers of the government are killed, some by lynching and some burned alive. A Supreme Court Justice is trapped by a giant six-armed idol of Siva (see illo) and stretched until his head pops off. A Nazi-like militia takes control of the entire country. The Spider kidnaps 35 Senators and spirits them away. The President is holed up in the White House while the bad guys try to assassinate him.

Lucky for us, the Spider charges into the White House, and with the help of a few loyal Marines, crashes out through the gates with the Prez in a sedan armed with machine guns. The Marines, while they last, sing "From the Halls of Monezuma" as their machine guns chatter away. Meanwhile, the militia blast away at them with machine guns of their own. Eventually only the Spider and the President are left to man the guns. Will they make it? I'll leave you chewing your nails in suspense.

The weird menace stuff is almost an afterthought. For reasons not reasonably explained, there a bunch of crazy Hindus running around under the direction of a guy calling himself the Cobra, and they seem to be in league with the almost Nazis.

What is NOT unusual for Spider story is that the frantic action is dang near non-stop. It was sort of a relief to hit the rare patches between the fighting.

This particular reprint is one of nine done in a larger-than-usual 8 1/2 x 11 format by Pulp Adventures in the late '90s. It features all the orignal illos with reset type. It's all very nicely done, but is just a little too large for comfort. I had to hold the book at nearly arm's length to read comfortably.

Meanwhile, Will Murray's The Doom Legion, in which the Spider teams up with both Operator #5 and G-8 The Flying Spy, has just arrived in mail. It's available HERE from Altus Press.

Read it Here: SHERLOCK HOLMES and "The Deadly Inheritance" (1961)

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This tale, mostly likely pencilled and inked by Frank Giacoia, appeared in Four Color No. 1169, dated May-June 1961. It was uploaded to comicbookplus by a hero known as Dell4c.


















Worst Movie Ever Made? You decide! THE STORY OF MANKIND (1957)

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Hoo boy! Here's a movie that has everything, with the sum totalling far less than its parts. It's both tedious and fascinating at the same time, and - as a bonus - loaded with commercials that pop in right in the middle of scenes. (Actually, the commercials are kind of a relief. The film is somehow more palatable when broken into bits.)

Here's the idea: When a couple of angels notice that the "Super H Bomb" has been developed years before it was supposed to, the High Tribunal of Outer Space is convened to decide whether to stop it or allow it to be used, thereby destroying Mankind. (Really. I'm not making this up.)

Vincent Price, as Mr. Scratch (the Devil), and Ronald Coleman, as The Spirit of Man, present the opposing cases (whether Mankind is ultimately Good or Evil) to the court, giving director Irwin Allen and Warner Brothers a chance to use footage from dozens of older films, and insert new performances by a huge grab bag of stars and wannabe stars. Trivia wizards like Cap'n Bob will grok on identifying all the famililar faces and guessing which movies provided the old footage.

Vincent Price is predictably good as the Devil, Peter Lorre is amazingly execrable as Nero, and most other performances are on the south side of inbetween. The only real attempt at comedy is Groucho Marks buying Manhattan from the Indians, and while it's far short of a typical Groucho performance, it's the best bit of the film. 

Start watching it if you dare. If you can stop, you're a better man than I. 




Pulp Gallery: COWBOY STORIES

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