Author: Werner Lind

The Queen of the South, by Arturo Perez-Reverte

  By

Literary rating: ★
Kick-butt quotient: ☆☆☆

reina-novelDisclaimer at the outset: I haven’t read this novel from cover to cover. Seven years ago, I read the prologue and first three chapters; this time around, I read the first seven (re-reading the ones I’d read before), and skimmed the last ten and the epilogue –though I skimmed very thoroughly, taking about three hours and absorbing all of the major plot points. I feel qualified to give it a fair rating and review; but the level of bad language and grungy sexual content, blended with the tedious prose style and the wall-to-wall cynicism of the author’s literary vision (if we can call it that) made this too distasteful to read word-for-word any further.

Our title character here is Teresa Mendoza, who, when we first meet her, is a 22-year-old girl from Culiacan, Sinola, Mexico, a community dominated by the cross-border Mexican-U.S. drug traffic. Her boyfriend is a airplane pilot ferrying drugs for a local narco kingpin. But this boyfriend had a bad habit of defrauding his employer with side deals of his own and bragging about it when he was drunk; the prologue opens with her phone ringing to inform her that his boss has just had him killed –and that she’d better run, because the killers are on their way to dispatch her, too. Her resulting 13-year odyssey will take her to Spain (Perez-Reverte’s home country), see her eventually rise to control the drug traffic into and through southern Spain, and eventually bring her back full circle to the place of her birth and a reckoning with the past.

There’s a solid story here, which despite its seeming far-fetched improbability is plotted in a way that actually comes across as believable (except for Teresa settling and working in Spain under her real name, and not getting whacked within a matter of weeks!) and told with a few twists that I did not see coming, even though I’d skimmed the ending seven years earlier. The author appears to be extremely knowledgeable about the history and minutia of drug trafficking, at least up to 2002 when the novel was written (though he doesn’t quite understand that not all readers are necessarily as fascinated as he apparently is with every scrap of minutia). Teresa is a complex character, not one a reader will readily forget; and there are moments in the story that are quite emotionally evocative, even poignant.

However, the execution of the idea is wanting here, in several respects. First, Perez-Reverte gives us two interlaced narratives, Teresa’s own direct story in the third person and that of a journalist, in the first person, who’s piecing together her story from interviews with her (in the first chapter; most of the rest of her saga unfolds in flashback) and others who knew her. The actual meat of the story is in the former strand of narrative, however; the journalist’s really adds nothing except padding to bulk the book up to its 436 pages. There’s nothing of substance in his contribution that couldn’t have been conveyed much more economically, and with a more unified structure, by incorporating it into the third-person narrative. Every time we switch to his strand, there’s a marked loss of momentum and interest.

Even in the strand focused on Teresa directly, however, the prose is slow-moving, and detail heavy (about a third of the text could probably have been edited out without major damage, and it would have produced a quicker, more easily-flowing read). Given that it’s also peppered with constant f-words (probably incongruous for Spanish-language speakers) and other foul language and crude sexual content, both heterosexual and lesbian, for me it was a real chore to read as much as I did. Perez-Reverte (who’s the author of at least five other novels, though I haven’t read any of those) also affects a self-consciously “literary” style, with a lot of emphasis on his protagonist’s inner thoughts and on portentiously-described Significant Moments, which gets old quickly. In fairness to the author, the translator is probably responsible for the f-words and for the erroneous use of “clips” to describe ammunition magazines –and certainly for the frequent Spanish phrases left untranslated, apparently to give the text a Spanish flavor. (Most monolingual English-language readers would have preferred that he’d stuck to doing that with familiar words like “si” and “gracias,” that don’t need translation.)

reina-novel2For a writer who was so inclined, the subject matter here would be a gold mine for moral and social reflection. The storyline cries out for exploration of the (im)morality of a drug trade that corrupts and destroys every life it touches, of the roots of demand for drugs in modern society, of the inequities in Mexican government and society for which the drug trade is a symptom and a result, of the failure of the prison system as an instrument of rehabilitation or justice, and any number of other serious themes. Readers who bring the raw materials for such reflection with them to the book may indeed think about these things, but without any direct encouragement from the author. His basic message appears to be nihilistic cynicism; and if anything, he tends to glorify drug trafficking, in somewhat the same fashion as the “narcocorridos” that he quotes at times.

To the extent that he has a vision, it could fairly be summarized as: “Wow, Teresa is a tough survivor who climbs to the top of the heap against odds; isn’t she COOL?” Well –no. She is a tough survivor who can handle threatening situations with courage and resolution; she has intelligence and talents that could be put to more constructive uses than they get, and she demonstrates some instinctive basic decency in her face-to-face relations with people. But she’s incapable (or doesn’t want to be capable) of any reflection about the consequences of her actions for people who use the drugs she transports, and doesn’t come across as particularly likable or admirable in most ways that count. (We’re also asked to believe –unrealistically– that her own drug habit has no more psychological or physical consequences than chewing gum would have; and some readers probably will believe it, to their own detriment.) I wouldn’t characterize her as an evil villainess –but I wouldn’t call her a heroine or a role model, either.

Readers who frequent this site will, understandably, be interested in the book’s action component. I set Teresa’s kick-butt quotient at three stars as a matter of attitude; she’s pragmatic about the elimination of enemies, though unlike the drug lords of Sinola, she’s not into slaughtering their innocent families. (She may threaten it for effect, but the reader knows that on that score, her bark is worse than her bite; and she’s capable of mercy where others in her position might not have shown it.) But as far as any direct personal action on her part goes, she picks up and uses a gun here exactly twice, once near the beginning and once in the climactic shoot-out near the end. And that scene is described, in Perez-Reverte’s typically “literary” fashion, in a sort of stream-of-consciousness style from a slightly befuddled viewpoint; he doesn’t handle the action with the clarity that some other writers would.

Author: Arturo Perez-Reverte
Publisher: Putnam, available through Amazon, both for Kindle and as a printed book.

A Shot Through the Heart, by J. C. Antonelli

  By

Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆☆

shotheartThis book wasn’t on my radar until a friend recommended it. But it proved to be well worth the read –and further demonstrates that there are independent authors out there producing quality work, and who aren’t getting the notice they ought to. J. C. Antonelli is one of these! Hopefully, this review will give you an idea of whether or not the book would be up your alley. If so, the novel has the added advantage of being a stand-alone; reading it won’t suck you into a long series.

This is, unabashedly, modern pulp action-adventure, with a kick-butt female protagonist. That doesn’t mean it’s without serious moral reflection or psychological depth; it has some of both to offer. (Although it has a 17-18 year old protagonist, its significant bad language, sexual content, and violence mark it as an adult read, not a YA –though there are certainly teens of both genders who’d read it avidly.) It doesn’t stint on the physical action (with a high body count) though, nor on the gripping suspense. The snappy prose style and short chapters, and the storyline itself, compel the reader to keep turning pages; if I’d been able to, I’d have read it at one sitting. (And I did finish it in about a week, which is a pretty quick read for me!) It’s too bad fiction by independent authors is ignored by Hollywood as fodder for adaptations, because this would make a stem-winder of an action flick, which would probably be a box office smash.

We open with our heroine/narrator Samantha (“Sam”) wounded and bleeding in a fleabag Bucharest hotel room, waiting for shadowy killers to close in and try to finish her off. (But she’s got two pistols, and she’s not going down without a fight.) From there, she goes back a year to tell the story of how she got here, to the summer before her senior year of high school. Not having a driver’s license yet, to get out of the house and fight boredom, she got her dad to take her for an outing at a shooting range, using a coupon that came in the mail. That experience revealed that she has a natural talent for handling firearms: quick reflexes, a keen eye, and an instinctive ability to aim accurately, that would place her probably in the 99th percentile for naturally-gifted shooters. This evokes a LOT of attention, because this range happens to be a clandestine screening tool used for recruitment by a super-secret quasi-government agency. Its mission is the targeted assassination of large-scale evil-doers whose power and position makes them untouchable by legal channels –and they have a job in hand for which a pretty 17-year-old girl might actually be what the operation’s profile needs.

“Laid-back California girl” Sam’s a wonderfully drawn, complex, round and dynamic character, as real as any girl her age you might meet at your local mall. Yes, she’s flawed. She’s the product of her culture in some ways, with its prejudices and blind spots; she has a potty-mouthed speaking style, and has the issues that come from losing her mom at a very young age and growing up raised by an inept and emotionally distant dad (whom she truly loves, but whose faults she realizes). But she emphatically isn’t the borderline “sociopath” the organization’s psychiatrist considers her. True, when she thinks it’s justified, she’s quite capable of killing without any emotional distress.

However, she has genuine feelings and a conscience, a respect for innocent life, and people she cares about; and she approaches what she’s asked to do from within a serious moral framework. And while, like most of us, she can’t help taking pride in doing something she’s good at (which, in her case, is lethal combat), she doesn’t revel in hurting people as such –she’s compassionate even towards enemies’ pain. Having had to take a lot of responsibility from a young age, and natively smart (she scored 2200 on her SATS), she’s also more mature and grounded than many teens are. But she’s a believable teen, and a believable teen girl (I raised three, so I know something about the demographic) –not, as some critics snidely say about action-oriented female characters, especially those created by male writers, an essentially male figure disguised as female.

While Sam’s the only character whose head we get inside, Antonelli is able to make the rest of the cast (especially Tico) vivid and life-like as well. His plotting is taut, driving, well-constructed and twisty –complications, both logistical and emotional, are going to ensue. Though the book most definitely isn’t a comedy, he understands the uses of comic relief, and Sam’s wry narrative voice and quirky (sometimes off-color) humor provides it at times, as do the inherent incongruities of the situations. Being a keen and accurate observer both of herself and others enhances Sam’s effectiveness as a narrator. We have a variety of physical settings here, all brought to life pretty well, but the description is never intrusive.

The author clearly knows his weaponry (though he calls magazines “clips” –but that’s a common mistake), and writes clear, exciting action scenes; he doesn’t over-stress the gore of violent death –it is what it has to be, but he doesn’t rub our noses in it. Moral reflection about the ethics of extra-legal, vigilante killing in particular cases is serious, and adds depth to the book. (Though it’s not true that all or most religions have a blanket prohibition against killing.) Finally, the book puts Sam through a wringer of tough moral choices and emotional stresses that really challenge both her and the reader –I consider that a hallmark of superior fiction.

The idea of “insta-love” can be a problematic issue for readers, and there’s a romantic component here that develops in a quick time-frame. Honest love between two people has to have a basis, and that takes some time to develop and build. But the amount of time can vary with the people and circumstances. For the two principals here, their prior experience with the opposite sex has been largely fallow and unsatisfactory, and there’s a mutual perception that they want something different than what they’ve been offered in the past; the attraction is based on personal qualities rather than just physical appearance, and the circumstances are of the sort that would stimulate quick bonding. I don’t automatically believe in relatively “insta-love” just because an author wants to throw it into the plot; but I didn’t have a problem believing in it for this couple.

Notes: (Although there’s no explicit sex in the book, some non-explicit unmarried sex does take place; but it came across to me as being loving rather than exploitative and lewd. Bad language is pervasive; I lost count of the f-words, though there’s no religious profanity. Devout Catholic readers will be apt to be very offended by a passing thought of Sam’s about the Mass, evoked by a stressful mental comparison between the sight of red wine and of blood (though to a girl ignorant of theology, the whole idea of deliberately drinking blood would appear “crazy”).

Prolifers will strongly disagree with her advice to a pregnant friend to abort the baby; but it was well-intended advice –and the fact that her friend has the baby anyway makes a statement of a different sort, as well. Also, Sam makes a passing comment near the beginning that it would be wrong to assassinate Mother Teresa, but okay to do Rush Limbaugh (and by implication, anyone with right-of-center views); that will sit poorly with those readers whose views are right of center.

Author: J. C. Antonelli
Publisher: Self-published, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Blood Cross, by Faith Hunter

  By

Literary rating: ★★★★
Kick-butt quotient: ☆☆☆

bloodcrossThe first book of this series was one of the best supernatural fiction reads, and best action heroine books, that I’ve ever read. It had me fully prepared to continue reading every installment of the series. This second novel picks up just a few days after the end of the first; the denouement of the latter was only the beginning in cleaning up some dark skullduggery afoot in the vampire community of Hunter’s slightly alternate New Orleans. As expected, this one thrust Jane into even more high-risk action and deeper into the mysterious secrets of the Undead race. But even though I gave it just one star less than the previous book, it was ultimately a disappointment, and I won’t keep on reading the series.

To be sure, the four stars are earned; this book has many of the same strengths as the previous one. I’d be lying if I said I didn’t really like most of it, and almost to the very end, I fully intended to continue with the series. Hunter’s prose is as compelling and her plotting as strong as ever. The vivid sense of place, and the masterful evocation of the author’s world that draws you in for a complete immersion, is here too. Nor has her genius for characterization, skill at depicting human interactions, and ability to evoke emotional reactions from the reader deserted her. Her deft handling of the vampire mythos, and the exploration of the relationship of Jane and Beast, still fascinates. The serious exploration of Cherokee spirituality is a plus, and I appreciate Hunter’s continued restraint in the use of bad language. As always, she writes action scenes really well; I admire Jane’s prowess as a fighter and willingness to risk her life for things worth fighting for, and I continue to honestly like her as a person. (I did have an issue with the casual drug use of her occasional allies from the projects; in real life, I wouldn’t trust stoned or half-stoned fighters with automatic weapons anywhere near me. But that wasn’t my biggest problem with the book.)

As a person of faith myself, one thing that drew me to the series and to Jane’s character is the fact that she’s depicted as a professing, church-attending Christian. While she wasn’t pictured as a plaster saint (and I wouldn’t expect her, or anybody else in fiction or real life, to be one), the character portrayal in the first book was consistent with who she claimed to be. So nothing prepared me for being blindsided in this book by sexual behavior on Jane’s part (including unmarried sex, engaged in without any moral questioning) that’s totally inconsistent with her claimed Christianity, and which makes her seem, in places, as hormone-driven as the least responsible members of the adolescent community. The sexual content isn’t very explicit; and not in itself anything that would be all that shocking from a secular heroine (such as Modesty Blaise) who doesn’t base her sexual ethics on Christian beliefs, and doesn’t claim to. Coming from one who supposedly does, though, it’s feels like an exercise in false advertising, as if the author wanted to have it both ways to sell more books, with a heroine whose talk can bring in the religious readers and whose actions will appeal to the secular ones. I felt gypped and betrayed by that kind of cynicism, and it leaves a bad taste in the mouth.

Despite my disappointment with that aspect of the novel, it was a thought-provoking read in some ways, raising the question of what it means to be “human.” Because she’s a shapeshifter, Jane is told by one person, and thinks herself, that she isn’t human. But she’s a full-blooded Cherokee (which, if she’s not human, is a contradiction in terms!), and she’s physically, mentally and spiritually just as human as you and I are –she just happens to be differently abled in one respect. In my estimation, that doesn’t make her any more non-human than other people who are differently abled compared to me, like the majority of people who, for instance, can hear tonal differences in music that I can’t, or the small number of people who can guide themselves in the dark by echolocation (and yes, I thought that was strictly fictitious, too, until I learned that it isn’t). Related to this, I’ve often said that I don’t like super-hero stories, because I prefer heroes and heroines with human limitations and vulnerabilities. But I like supernatural yarns about vampires, werewolves, etc. –and the thought struck me, in reading this book, that the difference is less real than one might suppose. In a very real sense, Jane could be called a super-heroine, since she has abilities normal humans don’t. But she’s not SO super-enabled that she’s immortal and above human vulnerability. In the future, I think I might look at super-hero tales with a more nuanced perspective because of that insight!

Author: Faith Hunter
Publisher: Roc, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Leopard’s Prey, by Suzanne Arruda

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆

leopardsThis fourth installment of the Jade del Cameron series has much the same strengths and general style of the previous books. We find Jade back in British East Africa, a few months after the events of the third book, The Serpent’s Daughter, and again encounter our old friends from the first two books. She’s supplementing her writing income by using her lariat and photography skills to help Perkins and Daley, the two partners in a small company that secures African animals for U.S. zoos. But we sense early on that her sleuthing skills may also be called on again, with the discovery of the dead body of a merchant from Nairobi (1920 population, ca. 11,000 –white population, ca. 3,000). Is his death, as the authorities initially suppose, suicide –or murder? And where is his unhappy wife? And did she or didn’t she have a recent unreported, unattended childbirth? Inquiring minds want to know; and Jade has an inquiring mind, soon made more so by the fact that the lead investigator seems to consider her beau, Sam Featherstone, a prime suspect.

The mystery (or mysteries) here was more challenging than in the previous books; I was able to figure out the basic solution about the same time that Jade did, but not before. Jade will face life-threatening jeopardies, and get to display her action-heroine credentials before the book is over; she’s also learning to fly Sam’s biplane, to add to her accomplishments (and yes, she’ll get to fly solo here). Arruda isn’t simply marking time with this installment; there are significant developments in store for some of the secondary characters, and one for Jade herself.

In a couple of areas, Arruda touches on serious issues in this book, issues from a 1920 context, but which have continuing relevance. By 1920, wildlife in parts of Africa was already coming under pressure from the great influx of European settlement and urbanization, as well as the spread of European-style agriculture. This brought habitat destruction, and the killing of predators to protect livestock –the old Africa already at war with the new. For Jade, taking individual animals to safety in a zoo is a way to help protect their species from extinction. But she’s also painfully aware that from the standpoint of the animal, life in a zoo isn’t the same thing as freedom; something important is lost. This is a quandary the morality of which is still being debated, nearly a century later. And much more so than in the previous books, we’re brought face to face with the ugly injustices of British treatment of native Africans: subjected to arbitrary taxation without representation, payable only in British money, and solely designed to force the males over 13 into oppressive labor contracts with white employers; subjected as well to travel restrictions (in their own country), that leave them virtual wards of the British and bind the males to their jobs.

This has always been, and continues to be, a seriously researched series, in which the results of the author’s research are blended seamlessly into the narrative, creating a strong sense of place. Here, we have a close look at traditional Masai culture –not as immersive and detailed a literary experience as the exploration of Amazigh (Berber) culture in the previous book, but still fascinating to me. Arruda’s treatment of non-European cultures is realistic but respectful. As always, her concluding Author’s Note here is mainly an annotated description of the source material she used in writing the novel, which would be valuable to readers who want to learn more about Africa (and post-World War I Africa in particular).

Author: Suzanne Arruda
Publisher: New American Library, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Ballad of Cat Ballou, by Roy Chanslor

  By

Literary rating: ★★★★
Kick-butt quotient: ☆☆

catballouMy generation, raised on 1950s and early 60s TV, tends to think of the classic Western genre as a male preserve, where females were the gallant cowboys’ ever-so-meek love interests or damsels in distress, but where men wore the guns and did all the shooting, cow-punching and heavy work. This reflected a moment in American pop culture, post-World War II, when the cultural and socio-political elite of that day consciously cultivated a faux “traditional” cult of female home-bound domesticity and passivity (to encourage the myriads of “Rosie the Riveters” to butt out of the workforce and free up the jobs for the returning male ex-soldiers). But that state of affairs never reflected the actual reality of the Old West, a harsh and dangerous land that often demanded that both sexes step up to plate and take their share of both fighting and strenuous work. The work of earlier Western genre writers like Edgar Rice Burroughs (The Bandit of Hell’s Bend) and pulp magazine authors like Les Savage Jr. often reflected that reality; and though written in 1956, this novel by Roy Chanslor (1899-1964), with its strong heroine, stands in that older tradition.

This is not, however, a novel of nonstop, slam-bang action from start to finish. On the contrary, Chanslor begins his story with his protagonist “Cat” (short for Catherine –she’s named after her mom) Ballou’s birth. (The titular folk “Ballad of Cat Ballou” that he quotes from, there and throughout the book, is completely fictional, as are the characters; but it imparts a mythic, larger-than-life quality to the narrative.) Then he goes back before that, to the days before her parents met, to help us understand the history of her family, the ill will between the Ballous and the Fields, and the nature of the world she was born into, in which the law was sometimes simply a perverted tool of the wealthy and powerful for plundering the weak, and where “outlaws” were sometimes only principled people fighting for their just rights. Our setting is Wyoming Territory; the localities of the main action are fictional, but supposedly in southern Wyoming, from clues in the text. Textual clues also suggest a date of ca. 1870 for Cat’s birth, and ca. 1886-87 for the crisis that ultimately confronts her. (The passing reference to territorial governor Ed Donaldson, however, isn’t a clue –no such name appears in the real-life roster of Wyoming’s governors!)

Chanslor uses an omniscient, third-person narrative voice, and a prose style that’s not unlike that of other Western writers of his generation –workmanlike, dignified without being stilted. He gives dialogue an authentic, colloquial feel, without resorting to heavy dialect. Not much attention is given to description of the natural world; the author’s focus is on the human world, and the thoughts, feelings and relationships of his characters. He’s also very good at creating an entire array of lifelike, nuanced characters, on both sides of the law (no simplistic “virtuous good guys in white hats and evil bad guys in black hats” here!). As in life, the storyline includes both tragedy and triumph. There’s violent death, and gun-play, in places (despite the cover art on the edition I read, Cat doesn’t wear or shoot a Colt here –but she’s as fast-shooting and as accurate with a rifle as any man); but it’s handled matter-of-factly, and as in the real world, it’s over quickly. (The results are what lingers.)

catballou2As is often the case with fiction that shows human beings involved in intense conflicts with life or death stakes, and making decisions about the use of deadly force, this novel brings to life very real questions about right and wrong, the relative primacy of law and order vs. justice, the moral obligations of humans to each other, the possibly conflicting claims of justice and mercy, the merits of being “fenced in” vs. freedom (and what exactly constitutes “freedom”), and what constitutes honorable behavior in difficult situations. Chanslor tends to point up right and wrong behavior by example rather than by exposition, though he does at times use Old Doc, Cat’s maternal grandfather, and Martha Babcock as mouthpieces for his opinions. In general, though, it’s clear that his own moral orientation is basically that of the traditional Code of the West, with a high value on respect for others’ rights, fair play, fidelity to one’s word, courage, and loyalty to family and friends. His attitude toward religion is aloof (Old Doc advocates reading Scripture “for the sound, not the sense”), but he’s respectful toward his preacher character, who’s definitely one of the good guys.

Romantic love plays a strong role in the tales of both Cat’s parents and her own story. In both cases, we’re dealing with situations of what could be disparaged as “insta-love.” As I’ve noted in other reviews, in pre-modern settings, what we think of as unrealistic “insta-love” could very often be true to life; men and women who didn’t expect to “date,” and who wanted matrimony rather than being afraid of it, learned to size each other up pretty quickly. Frankie and Catherine Ballou’s marriage, IMO, fits that pattern. Cat and her man’s union, though, strains the bounds of probability even for 19th-century attractions; and some of Cat’s attitudes and actions are those of a hormone-driven teen (she’s 16-17 at the time of her main story), not a responsible adult. I also felt Chanslor’s attitude was too cavalier in blithely excusing one character’s adultery when his wife was recovering from a miscarriage –I can understand the psychology of sexual deprivation, and don’t discount the value of forgiveness where penitence is genuine, but I don’t feel it’s “just being a normal male.” These points were what cost the book a star. In the main, though, the messages of the book promote sexual respect for women and glorify committed love in faithful marriage. Parts of the novel have an undercurrent of frank sensuality; but it’s monogamous sensuality that it celebrates.

I found the book a gripping read; there are moments of extreme suspense, and concern for the fate of characters you care about, and toward the end I read for longer than normal because I had to finish it! In some respects, this would actually make a great book for discussion groups to read together, because it can pose a lot to think about and discuss.

Note: Readers should be warned that the book has some d- and h-word bad language, and a fair amount of misuse of Divine names as well.

Author: Roy Chanslor
Publisher: New American Library, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)
Cat Ballou (1965)

The Serpent’s Daughter, by Suzanne Arruda

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆

serpentMany of the strengths of the first two novels in the Jade del Cameron series (which I’ve also read, and reviewed) are present in this third installment as well. However, at the end of the previous book, Stalking Ivory, Jade got a letter from her mother, inviting Jade to meet her in Tangier for a trip to Spain (to buy a stallion for the family’s New Mexico ranch). That’s the springboard for this book, which allows Arruda to introduce some new and fresh elements into the mix as well. This time, Jade is all the way across the African continent from her usual British East Africa milieu, and into a vividly-realized 1920 Morocco. Most of our usual supporting characters are left behind, and replaced by well-drawn new ones. For the first time, we get to meet Jade’s Andalusian-born mom, Dona Inez Maria Isabella de Vincente del Cameron, a strong woman in her own right and a fascinating dynamic character, and learn more about Jade’s background. This novel is as much concerned with exploring a complex, loving but fraught relationship between mother and daughter, as well as themes about being true to yourself and the possibilities of second chances and new beginnings, as it is about solving a mystery; and it gains in psychological depth as a result.

Nonetheless, there are very definitely mysteries to solve: a kidnapping, a murdered dead body that seems to be disconcertingly mobile for a corpse, the theft of an ancient amulet, and a sinister drug-smuggling operation. (Drug trafficking between Morocco and southern Europe didn’t begin in recent times, though it’s increased greatly today.) Having read the cover copy –which I don’t recommend because, IMO, it gives away too much that the readers might wish to discover on their own– I was sure I’d identified the villains in the first chapter; but I was still in the dark about some significant things, and Arruda managed to throw me a genuinely surprising curve ball I totally did not expect. I like that! Not having expected to need it in the urban setting of Tangier, Jade didn’t bring her Winchester on this trip. But she still carries a knife in her boot sheath, and her resourcefulness and skill at fisticuffs haven’t deserted her… and that’s just as well, because they’ll be sorely needed. (And where resourcefulness is concerned, the apple didn’t fall far from the tree!). Jade’s deductive abilities, as in the first book, can be a little on the slow side; but she doesn’t have to do much deduction here, and she figured out one key thing before I did.

A unique aspect of this book that I found fascinating was the detailed look at the traditional Amazigh culture of the people usually called by the appellation the ancient Greeks gave them, Berbers (from “barbarian,” the Greeks’ general term for non-Greeks –though, as one Imazighen man points out here, “It is an insult. We are not barbarians.”). There’s a rich cross-cultural flavor here, and a sense of place that’s particularly strong. All in all, this is an excellent continuation of a series that’s become a favorite of both my wife’s and mine, which does more than just run in place; it provides significant developments in the overall story arc. Now, we’re eager to continue Jade’s adventures with the fourth series installment, The Leopard’s Prey!

Author: Suzanne Arruda
Publisher: New American Library, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Modesty Blaise, by Peter O’Donnell

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆☆☆½

modesty1British author Peter O’Donnell created the iconic character of Modesty Blaise in 1963 as the heroine of an action adventure comic strip. He didn’t do the art work for the strip (that was done by four successive artists altogether), but he was responsible for the storylines and printed matter during the whole 38-year run, continuing until 2001. (These original strips are currently being reprinted as a series of graphic novels.) It quickly proved popular enough that 20th-Century Fox enlisted him to write a screenplay for a spin-off movie, which he did. However, he approached the character and the project seriously; and the filmmakers decided that they wanted to produce a parody of the James Bond films instead.

So, they brought in another writer to rework his screenplay, and ended up only keeping one sentence of it. Surprisingly, though, they asked O’Donnell, not his replacement, to do the novelization. He did –but he used his screenplay as the basis. That became the book I’m reviewing here, which was published in 1965 and sparked a long-running series of novels and stories, all with original plots distinct from those of the comic strips. (Meanwhile, the movie, with its caricature of Modesty in the main role, hit the screens in 1966, but failed to spark any fan enthusiasm comparable to what the books and comics generated.)

O”Donnell’s Modesty is a fascinating, complex and layered character, with an unusual back-story that’s provided in its basics at the beginning of this book, but fleshed out more as the tale unfolds. Born about 1939 –she doesn’t know exactly when, nor what her real name and nationality is– she was orphaned as a small child in the chaos and atrocities of World War II, and wandered alone through the Balkans and Middle East, sometimes living in refugee or DP camps. Exposed to a lot of danger and brutality, she survived against all odds because she learned to defend herself and to develop a tough, pragmatic mentality. As a tween, she was mentored by another refugee, a former university professor (whom she protected, rather than the other way around) who taught her a great deal; intelligent and gifted with a good memory, she’s well-educated as a result.

Winding up in Tangier at 17, she soon succeeded to the leadership of a criminal gang, and built it into a substantial international organization, the Network, that engaged in art and jewel thefts, currency manipulations, smuggling, and intelligence brokering. She did NOT, however, engage in drug or sex trafficking (and sometimes provided the authorities with tips that enabled them to bust drug operations); her criminal activities violated the law, but never her own personal moral code and sense of honor. (It was during her Network days that she forged her abiding friendship with Willie Garvin, a skilled knife-fighter whose life had pretty much hit bottom until she saw his potential and recruited him; he would become her lieutenant and faithful sidekick.) Having amassed her goal of half a million pounds sterling by the time she was about 25, she turned the Network over to its regional bosses and she and Willie (also wealthy by that time) retired to a quiet life in England.

The book opens about a year later, when she’s bored and restive, increasingly aware that she’s psychologically geared to find fulfillment and purpose in high-risk physical action, and doesn’t feel really alive when she’s vegetating without it. At this point, she’s approached by Sir Gerald Tarrant, head of British Intelligence (who did business with her, through Willie, when she was brokering items of information that interested the British government). As partial payment to a Middle Eastern sheik for an oil concession, Britain is shipping ten million pounds worth of diamonds from South Africa to Beirut –and there are rumors that the secrecy of the shipment has been compromised, and that someone may be out to steal it. Being aware of Modesty’s unique wide knowledge of, and contacts in, the international underworld, Tarrant would like her to check this out for him. First, though, she’ll have another priority on the agenda –rescuing Willie (also bored and restive) from the South American prison where he’s awaiting execution, having been a mercenary on the losing side in a civil war.

modesty2O’Donnell is a master of characterization; not just Modesty and Willie, but all of the secondary characters here too, are wonderfully wrought, full-orbed and realistic. The plotting is taut and well-paced, with no unnecessary filler, and there’s a real sense of danger and challenge. It’s clear that the author has a very good working knowledge of traditional Arab culture, which adds texture here. Unlike Ian Fleming, he doesn’t go in for far-fetched gadgetry, but he does endow his heroine and hero with some believable gadgets and an ability to secrete them on their person. He writes action scenes that are clear, vivid and gripping; and he sets his action in the context of a moral framework –recognizable good is pitted here against genuine evil, and O’Donnell makes us root wholeheartedly for the former and despise the latter. Modesty herself is no plaster saint; I didn’t approve of everything she’s done in her life, or every aspect of her lifestyle now. But I could understand her motivations, and didn’t have any trouble liking and respecting her as a heroine –she has a lot of very real virtues, is a born leader and as valiant a fighter as ever lived, cares about others and treats them decently, and respects innocent life (and will spare adversaries’ lives at times when some people in her shoes probably wouldn’t).

At one point, O’Donnell makes use of a double coincidence in his plotting, which some critics might fault him for. (But that personally didn’t bother me much; I ascribed it to the action of providence.) And while he drops the names of various firearms models to lend verisimilitude to his narrative, he makes a couple of bloopers in his treatment of guns. Also, he describes technical processes at places in the narrative in more detail than I would (I have a low tolerance for that kind of thing), but he usually has a good reason to, and does it with reasonable clarity; some fans will actually regard this as a strength of the writing. One major character displays some sexist attitudes, but I didn’t think O’Donnell was sharing in or justifying them, just realistically depicting the way many males in 1965 thought (and still do).

There’s a high body count here, but the violence is handled quickly and cleanly; while some of the villains are sadists, O”Donnell isn’t. There’s some bad language, and a certain amount of religious profanity, but no obscenity. While there’s no explicit sex, it’s made clear that unmarried sex took place a few times, and will again; Willie and Modesty are single, but not celibate. (Their relationship with each other, though, is perfectly chaste and Platonic –they genuinely do love each other, and would die for each other, but as true friends, not as erotic partners.)

In this book, it’s noted in passing that Modesty has been raped twice in her life. As it stands, that’s just a reflection of the tragic fact that women in our world often do face a lot of sexual violence; and she isn’t defined by the experience, and doesn’t have a victim mentality that allows it to permanently scar her life, which is positive modeling. But I’m told by other readers that in the other books of the series (though not the comics) Modesty tends to be raped quite frequently. To me, that’s a disturbing amount of sexual violence for one character to have to undergo; and it does seem like a morbid overuse of the motif. But that said, I’m still invested enough in this heroine and her future adventures to continue reading the series!

Author: Peter O’Donnell
Publisher: Souvenir Press, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

New Adventures of Senorita Scorpion, edited by Percival Constantine

  By

Literary rating: ★★★★
Kick-butt quotient: Variable

senoritaPulp Western writer Les Savage, Jr. (1922-1958) was short-lived, dying at 35; but he began writing at the age of 17, and managed to produce over 20 books, as well as a substantial body of short fiction. Though he’s not well-known today, genre critics who have taken note of his work agree that he was more enlightened in his view of women and of ethnic minorities than most pulp writers (and editors/readers) of his day. An example of his trail-blazing in both areas is his series heroine Elgera Douglas, a.k.a. Senorita Scorpion, who stars in a body of stories set in the mountainous Texas-Mexico border country west of the Pecos River. In 2012, through their Altus Press imprint, modern pulp publisher Pro Se Press have brought all these stories back into print in the two-volume collection The Complete Adventures of Senorita Scorpion. I’ve already reviewed that collection for this site.

Perhaps to whet interest for the originals, in 2013 Pro Se also brought out this short collection of three modern Senorita Scorpion pastiches, written specifically for this book by three authors who’ve published other work with Pro Se previously: Nancy A. Hansen, Aussie writer Brad Mengle, and Andrea Judy. I actually read this anthology (which I received as a review copy from Pro Se, with no strings attached) before I read the originals, but chose to wait until I’d reviewed those here before reviewing this spin-off. This was my first exposure to the work of any of these three.

All of the stories, in relation to the original corpus, take place before Savage’s second story, “The Brand of Senorita Scorpion.” Both Hansen’s “The Bells of St. Ferdinand” and “Wanted: Senorita Scorpion” by Mengel are excellent stories, that would earn five stars from me in their own right. They’re well plotted and constructed, with capably drawn characters, realistic dialogue and credible motivations, nice evocation of suspense, Western action that’s not too over the top to be believable, just the right level of detail, and (in one of the stories) a satisfying note of low-key romance. Each of the two authors has his/her own style; but both portray Elgera and her situation in a way that’s basically consistent with the original stories, as a good pastiche should be –though Elgera’s skill with using a whip as a weapon, which Hansen depicts, isn’t a feature of any of the original stories. (Chisos Owens, who in the originals sometimes threatens to eclipse Elgera, is mentioned here but doesn’t actually appear in person.) Both writers avoid use of bad language, with which Savage himself was restrained as well. Elgera comes across in these stories as the sort of “outlaw” the law-abiding can respect and admire: brave, caring, and sparing with lethal force.

Though having only three stories here is regrettable, it’s also understandable; Senorita Scorpion isn’t as well-known as some other classic pulp characters, so not many modern writers were lining up to want to write about her. That makes it doubly disappointing, though, that one of the three, Andrea Judy’s “A Woman’s Touch,” simply comes nowhere near the standard of the other two. It starts with an implausible premise and throws in a couple more, hangs its plot on an improbable coincidence, offers action scenes so over the top they read like parodies (for instance, no real human beings, no matter how athletic they are, jump in and out of a shot-out window when there’s a door right next to it!), is predictable from start to finish, and never generates any emotional response except irritation. Worse, the portrayal of Elgera and her situation here is markedly “off,” compared to the original stories: there, she’s fully in touch with social reality around her, whereas here, she and her dependents are practically totally ignorant of the outside world beyond their mine; here, she’s quite blase’ about shooting people, (except in the one case where she’s obviously foolish not to!), and here she uses “ain’t” where in both the other stories she speaks proper English. (Judy is also the only writer of the three that uses bad language –but that fails to make her dialog very lifelike.) I would seriously doubt that this author ever actually read the original stories.)

In my overall rating, I deducted a star for the one weak story, but I still felt the other two were strong enough to merit four stars for the book. I’d read more by both authors; and I’d even try more by Judy. She’s apparently the youngest and least experienced writer of the three, and I don’t think tried her best here. With more aggressive editing that demanded her best, her tale might have been much better. (Constantine’s role as editor here, I’m guessing, was just to compile the stories and to draft the short author bios at the end of the book –not to impose any quality control.)

Editor: Percival Constantine
Publisher: Pro Se Press, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Sleeping Partner, by Madeleine E.Robins

  By

Literary rating: ★★★★
Kick-butt quotient: ☆

sleepAt the age of 16, the intelligent and spirited daughter of a country baronet, Sarah Brereton –the girl who would become the Sarah Tolerance that series fans know and admire– fell deeply in love with her brother’s fencing instructor, and he with her. (For modern readers, it’s important to recognize that in that day, teens were expected to mature and become responsible early; 16-year-old girls might well be married. So this wasn’t some sort of sick, pedophilic situation; Sarah was a young woman with the passion and impetuousness of youth, but in her society she was a woman, not a child, and Charles Connell was a normal, decent male.) Because of the class difference and paternal opposition, though, this relationship didn’t lead to a happy engagement and marriage, but to a hasty flight to the Continent, with Sarah disgraced, disowned by her family, and consigned to permanent Fallen Woman status. (Fallen men in her culture didn’t suffer any similar opprobrium.)

Like many people in that pre-antibiotic era, Connell died young, leaving her in effect a widow without ever having technically been a wife. Now, some 12 years later (we’re up to April, 1811 in this volume), she’s living in London under an assumed name, to spare her family from embarrassment. To support herself without resorting to the usual expedient of prostitution (friendless and helpless women in that environment being, pretty much invariably, sexually exploited women), she’s created the profession of “agent of inquiry” –a private investigator, in our parlance– for herself, putting her unique abilities to use. She’s smart, inquisitive, brave, able to move in a range of social circles and to pass for a man when she needs to, well trained by Connell in the use of a sword, and not afraid to pack and use a pistol. (In this volume, the level of violence in her physical altercations is again dialed down to the one-star level; but her weapons do come out, and she can definitely defend herself with aplomb.)

Her latest client is a young married woman, who desperately wants Sarah to find and rescue the lady’s 16-year-old younger sister (daughter of a peer), who’s disappeared, leaving behind a note indicating that she’s eloped with an unnamed lover. Obviously, this case stirs some very deep-seated feelings for Sarah. It will get more personal and wrenching, rather than less, as she investigates. And series fans won’t be surprised that there’s more to the mystery than at first meets the eye.

Many of my general comments on the preceding two books of the series apply to this one as well. Robins’ prose style and characterizations are as fine as ever; not just Sarah, but all of the characters (good and bad) are thoroughly real people whom we like, pity or detest. (Some are old friends from the earlier books, some are newly met.) The period flavor is as rich and rewarding as ever. (As usual, a concluding “Note on History, Faux and Real” explains the historical background, and where the author’s slightly alternate world diverges from ours in a few details.) Considering the kind of case our heroine is investigating, and the fact that she lives in a cottage behind her (also Fallen –“the black ewe of her generation”) aunt’s high-class brothel and has a prostitute for a close friend, sexual content here is relatively minimal. We also get a glimpse here of Sarah in church, which helps to deepen her character. Like many people of that day –including Jane Austen herself, a writer whose influence Robins readily admits– she doesn’t wear her faith on her sleeve, but it’s there, to a lot greater extent than some of the more ostentatiously pious might give her credit for. (Then and now, many of the latter tend to forget that a Christian society has to be, first and foremost, a community of forgiveness.) And the volume isn’t simply treading water in terms of the development of the series; there’s significant growth and change in relationships here.

Why, then, only four stars, when the two previous books got five? For only one reason. Here, in the resolution/explanation of the skullduggery at the heart of events, there’s one major logical contradiction (which is impossible to explain without a spoiler). Robins papers it over without any real explanation (and it’s possible she actually didn’t recognize it herself!), but because it’s central to the resolution of the book, I had to reluctantly deduct a star for it. But it’s still a great read!

A couple of notes are relevant on the way words were used differently in 1811 than today. First, a clergyman here is said to be “Unitarian.” Today’s “Unitarians” are somewhat similar to the “Deists” of Sarah’s day (except that most today would be even more skeptical, and less willing to accept a label of Christian, or even of theistic). “Unitarians” in Sarah’s world, however (like the slightly later March family in Little Women) were what are sometimes called “Biblical Unitarians,” holding orthodox views on the atonement and the authority of Scripture, and definitely not Deists –in other words, much more conservative than the term suggests today. Second, the word “whore” is used in these books simply as the normal word for what we would today call a prostitute. Obviously, it was an inherently insulting term to apply to a woman who was NOT in that trade, but for those who were, it didn’t have any particularly insulting connotation; the girls themselves used it as a normal self-designation. No speaker today would use it, even to a woman who is a sex worker, without a deliberate intention to hurt and demean; but in 1811, there generally is no such intention (and usually no such effect).

This is the latest Sarah Tolerance book to date –published in 2011, seven years after the previous one. It isn’t clear whether Robins intends to continue the series past this point. If not, there are features to this volume that could make it a satisfactory conclusion to what will then be a trilogy. But if the author does ever intend, in the future, to visit Sarah’s London again, I and I’m sure a goodly number of other fans will eagerly come along for the ride!

Author: Madeleine E. Robins
Publisher: Plus One Press, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Complete Adventures of Senorita Scorpion, by Les Savage, Jr.

  By

Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆

scorpion1Action adventure fiction, in the pulp era, tended to be a male-dominated field; the writers and readers were overwhelmingly male, and the protagonists having the adventures and engaging in the derring-do tended to be correspondingly male. The culture of that day had deep-rooted stereotypes about the unfitness of the “weaker sex” for strenuous physical challenges, and about the inappropriateness of combat as a role for females who were supposed to be naturally gentle and demure. But there were writings that bucked these assumptions, particularly in the Western genre. Senorita Scorpion, the creation of Les Savage, Jr. (1922-1958), wasn’t actually the first pistol-packing cowgirl to be featured in the Western pulps of the 30s and 40s; but she proved to be the most popular, one of the most unique, and probably the subject of the longest running and thickest corpus of material of any of these fictional ladies: seven stories, originally published in Action Stories from 1944-49. Through its Altus Press imprint, (CreateSpace is just the printing service) Pro Se Press seeks to bring the best fiction of the early modern pulp magazine era back into print, in book form now, for a new generation of fans. These stories (plus one by Emmett McDowell, which used the Senorita Scorpion name for an entirely different character) were a felicitous choice for one of their first projects, in two volumes.

The stories included here are: “Senorita Scorpion” (1944); “The Brand of Senorita Scorpion” (1944); “Secret of Santiago” (1944); “The Curse of Montezuma” (1945); “Brand of the Gallows-Ghost” (1945); “Lash of the Six-Gun Queen” (1947); “Gun Witch of Hoodoo Range” by McDowell (1948); and “The Sting of Senorita Scorpion” (1949). For purposes of this review, the McDowell story is considered separately; the main body of the comments below refer just to the stories by Savage.

Our setting here is Brewster County, Texas in the 1890s. This is a real county, located in the Big Bend area west of the Pecos and north of the Rio Grande, and the geography of the area as depicted by Savage is real, including the inhospitable Dead Horse Mountains. When we first meet protagonist Elgera Douglas, a.k.a. “Senorita Scorpion,” she’s a girl outlaw pulling off a daring robbery, but she’s not an outlaw who wants to prey on others in order to live without working; her motivations are considerably different. They’re rooted in the background of the story series, which is gradually disclosed in the first tale; but it won’t be an undue spoiler to explain it here.

In 1681, a grandee of New Spain, Don Simeon Santiago, discovered a gold mine in the Dead Horse Mountains, originally worked by the local Indians. He built a house and ranch there, in the only valley in the range with enough water to support humans and cattle, and sent several fantastically rich shipments of gold south to Mexico. Soon, however, the ranch was attacked by raiding Comanche, who killed everyone they could find and, when they left, sealed off entrance or egress to the valley by caving in the mine tunnel which served for that purpose. The only survivors were George Douglas, a British-born slave originally captured from an English ship in the Caribbean, and a Mexican Indian slave woman. From these two, over the next two centuries an inbred Douglas clan of mixed Anglo-Indian ancestry and culture grew up in the valley. In 1876, they finally succeeded in digging through the mine and re-uniting with the rest of the world, though they kept the location of their valley secret.

By 1891, clan leader and official landholder John Douglas, Elgera’s father, lies in a coma, and the Santiago lands are under the covetous eye of ruthless cattle baron Anse Hawkman, who owns everything in the area worth owning and has used legal chicanery to force the smaller landholders off their claims. Elgera (“El Gera” is Spanish for “the blonde one”) is one of three children, the only girl, and not the oldest; but with her father disabled she’s the undisputed leader of the family. Savage never actually explains why; we’re left to infer that it’s because of her strong, born-leader personality –which is definitely evidenced– and the respect commanded, in a situation where fighting is a necessity, by her formidable gun skills, which considerably surpass those of most men. She’s become an outlaw, as the law defines it, in order to strike back at Hawkman and his interests.

scorpion2From this beginning, the first four stories proceed in a chronological arc; each is self contained, but the following ones build on the preceding ones in terms of character and situational development, so that what we have is a genuine story cycle. In the later three stories, the chronological relationship to the rest of the corpus isn’t as clear, except that they all take place after the events of the first story, and that “Lash of the Six-Gun Queen” is set near the end of the decade. Savage makes statements inconsistent in details with what he wrote earlier in one story, and another tale also gives some evidence of forgetfulness on his part. The rest of the Douglas clan simply disappears in the later stories, and their unique sociological circumstances aren’t explored at all, while the Santiago Ranch functions about like a set or a piece of furniture; there’s not much attention to its fortunes or the practicalities of running it. Elgera’s supposedly well-known skill at cards is only brought out in “Brand of the Gallows-Ghost,” and never mentioned elsewhere.

The major characters are well-developed, and several appear in more than one of the stories. (Chisos Owens tends to play as large a role in most of the stories as Elgera does, and actually does more of the fighting.) Savage develops his plots with considerable originality and artistry, and the stories benefit from his trademark serious research to ground his work in actual Western history. (The fraudulent so-called “History of Montezuma,” for instance, really was produced in 1846 under the conditions he describes in “The Curse of Montezuma;” and while I haven’t been able to check his details about 17th-century Native American and Spanish mining/smelting practices in “Secret of Santiago,” they have a ring of truth.) He writes action scenes well; he’s an excellent prose stylist, and has a good sense of pacing, and the stories employ elements of mystery which are very effective in adding to the suspense he conjures. Elgera’s a likable character, as are the various good guys who assist her; and the villains are the sort you love to root against. A half-Indian heroine is as much of a trail-blazing feature, in this period, as a combat-capable one, and Savage’s treatment of Hispanic and Indian characters isn’t racist; some are villains, but others are treated very positively.

Critics might complain that some plot elements are a bit exotic (such as a character who’s a Satanist, or the premise of a peyote-based cult in one story), or that there’s some reliance on coincidence in places. But peyote use really is historically a feature of Southwestern Indian religion, and coincidence IS at times a feature of real life, too. There’s not much bad language in the stories (McDowell uses more of it than Savage does), and what there is isn’t particularly rough.

In terms of her action chops, we’re told much more often about Elgera’s gun skills than we’re shown them –but we are shown them occasionally. She uses lethal force sparingly (and only in defense of herself or others), though when she has to, she takes it calmly in stride. (Bad guys who take her on hand to hand –and she’s no slouch at that type of fighting, either!– usually wind up killing themselves accidentally; but as a group, they’re too stupid to recognize that pattern and avoid it. :-) )

Will Murray contributes introductions to both volumes; the second one deals mostly with the genesis and publication of the stories, but the first one regrettably concentrates mostly on the sex appeal of the pulp cowgirl characters in general and the more salacious aspects of the cover art. To be sure, many males then and now were, and are, culturally conditioned to view both real and fictional women only, or primarily, as sexual commodities. But that’s not, IMO, the most helpful lens here for viewing the character –nor the primary one that Savage invites us to use. Yes, he depicts Elgera as powerfully attractive to most of his male characters (and she tends to be fickle in her own romantic attractions –one of my primary quibbles with his portrayal of the character). But the stories certainly aren’t about sex, Elgera and her male admirers never do anything more than kiss, and her sexuality is just an ancillary part –not the be-all-and-end-all– of who her character is.

A brief word will suffice about McDowell’s story. My wife considered it out of place, and a detriment to the book; it’s included because Savage’s publishers, when he was too busy working on a novel at the time, enlisted McDowell to write a Senorita Scorpion story, and this is what they got. He used the name, but makes the woman’s character and circumstances totally different from Savage’s Elgera, and changes the setting to Arizona in the early 1880s to boot. Essentially, it’s a story about a completely different woman with the same nickname. Taken on its own terms, though, it’s actually a solid story with an excellent twist, and one of my favorites in the book.

Author: Les Savage, Jr.
Publisher: Altus Press, available through Amazon, both for Kindle and as printed books: Volume 1 and Volume 2

A version of this review previously appeared on Goodreads.