MAN'S BEST FRIEND, EH?

They go up the street every day.

They go down the street every day.

They come in all sizes, shapes and colors too.

No, I'm not talking about cars. I'm talking about dogs, and their human owners. The dog-human parade usually starts before sunrise and doesn't end until after sunset. Come rain, sleet or snow, they're trottin' and walkin'.

Some dogs will pause to pee on the flowers at the base of my driveway, which pisses me off. But when a dog decides to squeeze its poop out on my lawn their owners are always good about picking it up. I appreciate that, even if it is the law, and so does everyone else who has a lawn.

Our favorite dog to watch is the "Regal Beagle", which trots ahead of its owner with purpose and pride (though as it has gotten older and slower it has become increasingly more distracted). When I remarked to its owner about our pet name for it she just looked at me like I was weird. And I suppose I am.

One woman laughingly tried to train her two big black dogs to walk obediently side by side but you could see her frustration mounting each day. Eventually she abandoned her plan altogether and walked just one dog at a time. Another woman escorts her dog off leash, which is against the law, but thankfully her dog doesn't seem interested in doing anything but padding lazily behind her. But a dog is a dog, and they can react impulsively to just about anything around them. A local TV journalist had her upper lip nearly ripped off on live television by a visiting Argentine Mastiff when she got too lovey-dovey with its muzzle. The station promptly canceled her show because her face is now permanently scarred (plastic surgery can only do so much). Fortunately for her, she found hosting work at our local PBS station 12. Note to self and everyone else: Support your local PBS, and if you value your looks never put your face anywhere near a dog's.

People without dogs, as you might expect, walk, jog, run and bike up and down my block too. One couple carries a hiking stick for protection, which makes perfect sense to me. Consider this: my friend John was walking his dog Zoey when a Pit Bull came charging out of a house at them. John's coat got torn to shreds and his arm bruised during the melee, but luckily he and Zoey were not seriously hurt. But it could've been worse. Much worse.

An estimated 4.5 million dogs bite or attack people every year in the United States, according to animal attack statistics compiled by the Centers for Disease Control and Prevention. Since 2011, fatalities are averaging about 43 per year. In Colorado 12 people have been killed by dogs since 1989. Pit bulls were responsible for three of those deaths, the most recent in 2023 when an 89 year old woman was literally decapitated by a pair of them. The remaining deaths were caused by Rottweilers, Malamutes, a Wolf hybrid and a German Shepherd. 

There seems to be a lot of book covers that reflect the viscous nature of dogs too, wolves included. For this year's Halloween celebration I compiled some of my favorites. But remember, before you start scrolling grab a hiking stick. You'll need it for protection.

Dracula's Guest by Bram Stoker was published in the UK in hardback by George Routledge & Sons in 1914 (top). It contains 9 horror stories by Stoker and a preface by his wife Florence. Arrow (UK) issued a paperback edition of Dracula's Guest in 1966 (bottom). Their cover art, also featuring a wolf, actually two, was left uncredited. The jacket art on the Routledge edition was produced by the Englishman W. B. (William Bradshaw) Handforth (1859-1945). Handforth career as an illustrator began around 1895, producing illustrations for various serials and magazines. Two years later he illustrated a re-issue of Thomas Moore’s 1827 historical novel The Epicurean (1897). More commissions would follow after that: Captain Mayne Reid’s The Scalp Hunters (1898), Charles Clark's The Story of an Ocean Tramp (1898), Herbert Hamblen’s The Yarn of a Bucko Mate (1899), and so forth. Over the next few decades he produced covers and illustrations for most of the British publishers of his time, but not necessarily being associated with any one in particular. His last book illustrations appeared in 1931. More in-depth information about Handforth can be read here at the Bear Alley blog.

1937 Hillman Curl US edition (not shown):  'Those who have read "Dracula" will never forget the eeire magic, the subtle power of analysis, the icy horror by means of which the supernatural is made a haunting reality.'

It Howls At Night by Norman Berrow was published in hardback by Ward Lock (UK) in 1937. The jacket artist is unknown. Berrow (1902-1986), who lived in Christchurch, New Zealand, wrote 20 mystery novels between 1934 and 1957. By all accounts they have been well received, so much so that eclectic publisher Ramble House has re-issued all his titles in relatively affordable editions. So, because it's next to impossible to borrow the original editions from libraries, and the ones that do turn up for sale are rather overpriced, Ramble House deserves our deepest respect and support. Though I've yet to read Berrow, but plan to, his plot descriptions, which incorporate locked rooms, secret passages, disguises, vanishings, amateur detectives and romance, all seem right up my favorite reading alley.

'Four Englishmen from Gibraltar, on a motor trip in Spain, rach the village of San Sejado, and there become involved in the amazing affair of the supposed Werewolf that murders hideously and seemingly brainlessly. It is only after a reign of terror that the foul spectre of superstition is banished from the village and the mystery solved. Mr. Berrow written a real thriller--and a romance into the bargain.'

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This is an odd book, and probably the most fragile and coveted in my paperback collection. The item on the left, A Saki Sampler, was published by Superior Reprints in 1945. The dustjacket on the right was added later to that same item by Bantam (when exactly, I don't know, but probably that same year; Bantam wrapped several of their paperbacks in jackets back then). The She-Wolf and other stories is an excellent collection of 24 short stories by British writer Hector Hugh Munro (1870-1916), otherwise known as H. H. Munro, or more properly by his famous pen-name, Saki (itself a reference to the cupbearer in the Rubaiyat of Omar Khayam). The author's most famous story, The Open Window, is included in this collection. Munro enlisted at the start of WWI at the age of 43, refusing a commission he had previously earned, and joined the 2nd King Edward's Horse as an ordinary trooper. He later transferred to the 22nd Battalion, where he was promoted to lance sergeant. In November 1916, while sheltering in a shell crater in France during the Battle of the Ancre, Munro was killed by a German sniper. According to several sources, his last words were "Put that bloody cigarette out!"

Bantam's jacket art was produced by Bert Lannon (the "elephant" cover is uncredited). Norbert J. Lannon (1911-1993) worked for Avon, among others, but mostly for Bantam, where he produced several excellent covers during the late 1940s. Beyond that fact nothing much else is known about him or his career.

'When Saki starts blasting the social register, hold on to your hat or you'll laugh it off. When he innocently starts spinning a tale of terror, hold tight to your chair, or you'll wish you had! And when you start the Saki shock treatment, you won't be able to stop until you've met each one of Saki's outrageous collection of humbugs, stuffed-shirts, society dimwits, and evil pranksters. You're in for a field day of high jinks... and horror.'

The Lady Regrets by James M. Fox was published in paperback by Dell in 1949. The cover art was produced by Victor Kalin, who I've mentioned before; he was, among other things, a prolific paperback cover illustrator. Though I can't tell if his Great Dane is the bound girl's savior, or malevolent captor? Dutch born James M. Fox's birth name was actually Johannes Willem Mathijs Knipscheer, and he was a lawyer by profession. After WWII he began writing hard-boiled mysteries to supplement his income, but also for his own amusement. They were mostly series titles featuring his sleuths John and Suzy Marshall. Fox apparently wrote espionage novels too, but I've yet to sample any of his work.

1947 Coward McCann hardback edition:  'Introducing John and Suzy Marshall, a detecting team which will be very well known before long. In this one the Marshalls find themselves involved--dangerously so--in kidnapping and murder in Southern California. They are invited to stay at the estate of Walter Havers, a tycoon who needs to improve in public relations. Everything seems fine for a few hours at Havers'--until trouble begins violently. At the end the Marshalls meet and make important friends with a Great Dane named Khan, who will figure even more prominently in the author's next story.'

This is the British Pocket Books (B7) paperback edition that was published in 1950 (a US Pocket edition from that era apparently does not exist). The art has been credited to Horowicz and Chadwick, names that are completely unfamiliar to me, and possibly to the rest of the internet--I was unable to find any reference to them beyond this particular one anywhere online. It's a heckuva illustration though, one of my favorites in this article, but that also indicates just how much I like Doyle and his awesome Sherlock Holmes novel. Which is a lot.

House of Flesh by Bruno Fischer was published in paperback by Gold Medal in 1950. The cover art was produced by C. C. (Cecil Calvert) Beall. The Wyoming born Beall (1892-1970) was a commercial illustrator and portrait painter, producing cover art and illustrations for most of the leading magazines of his day. He also produced dozens of book covers. His 1936 portrait of President Roosevelt on the cover of Collier's led him to the position as art director for the Democratic National Committee. He also made a virtual, line for line replica painting of Joe Rosenthal's famous black & white photograph of the raising of the replacement American flag on Iwo Jima, but in color. It became a successful Treasury War Bond Drive poster that helped raise money to end World War II. Beall was also an eyewitness to the 1945 official Japanese surrender on the USS Missouri. He painted General MacArthur at the event and that work later became MacArthur's official portrait. (One of these days I will get around to reading Bruno Fischer. I don't have a copy of House of Flesh, but from what its simple blurb implies, and what others have said, it sounds like the perfect place to start).

'In the forbidding old house, guarded by vicious dogs, lived exotic, mysterious Lela. Murder was done there, it was said, and other deeds, wanton and eerie.'

Murder In A Hurry by Franceds & Richard Lockridge was published in paperback by Avon in 1952. The cover art is uncredited, as were many of the Avon's from that era. Out of the 50 novels that they co-authored, Mr. & Mrs. North were the Lockridge's most memorable characters, featured in 27 mystery novels beginning in 1936 and ending in 1963. Apparently, Frances would generally think up the plot complications for each book, while Richard would adapt them into prose. It was, just like their 43-year-marriage, an enduring formula for success.

'A certain bright eyed man was with Liza O'Brien when she discovered the hideous thing cramped in the animal pen. She was half relieved to be with someone in the eerie, deserted pet shop, and half afraid of this sinister stranger. Then, when she turned around for a minute or two, the weird old gent disappeared. The next time she saw him he was a corpse.'

Peter Joins In by L. V. Davidson was published in hardback by Lutterworth Press (UK) in 1955. The jacket art is not signed. L. V. Davidson was a British children's author about whom almost nothing is known. The plot of this children's novel is also not known. The L. V. though is said to stand for Lucy Vyvyan.

When I was a kid I was bitten by a German shepherd while riding my bike. I saw the beast coming and pedaled as hard as I could but it still nipped me. Ironically, my favorite dog was my sister's German shepherd, Bridgette. I used to borrow her when I went on camping trips; I even took her backpacking into the Gore Range wilderness. At night she would circle our camp like a protective mother, but staying always within easy calling distance. Not once did she bark at or chase wildlife unprovoked. What a wonderful dog she was--the best!

Three Times A Victim by F. L. Wallace was published in paperback by Ace (Double D209, flipside: A Night for Treason by John Jakes) in 1957. The cover art remains uncredited. This is one of my favorite paperback cover illustrations; the man's binoculars zeroing in on a girl nonchalantly holding her purse in one hand, while her leashed dog reacts to a dead body lying on the side. Classic crime novel stuff.

Floyd L. Wallace wrote dozens of science fiction stories and several mysteries during his time here on earth, though by trade he was a mechanical engineer. He lived in Orange County, California for much of his life, where he died in 2004 at the age of 89.

'Norm Hazard was a private detective--services rendered for money on the line. But he had enough civic pride to stir him into action when someone started messing up the city park with corpses, particularly since he had to round up a checker-playing old man who frequently inhabited that same park--and his client wanted him delivered alive! Los Angeles' Finest seemed determined to play a meaningless game of blindman's bluff with the killer... but somewhere there was a connection between the senseless murders being committed in that old folk's playground and the N O Hazard Agency's present assignment. To clear up one was to clean up the other, and Hazard found himself smack in the middle of a bullet-riddled jam that nearly cost him his client--and his life!'

The Bloody Medallion by Richard Telfair was published in paperback by Gold Medal in 1959. The cover art was produced by Bill Johnson. Johnson was born in Seattle, Washington in 1929 and attended the Cornish and Burnley Art Schools in Seattle. He was then awarded a full scholarship to the Chicago Art Institute. Johnson specialized in dramatic action subjects, so it shouldn't surprise anyone that he embraced the burgeoning and lucrative field of 1950s and 60s men's adventure magazines. He also produced scores of covers for most of the major paperback houses, including Avon, Bantam, Crest and Gold Medal (Fawcett).

Telfair was the pseudonym of author Richard Jessup (1925-1982). Jessup gave up an early career as a merchant seaman to concentrate instead on writing. He eventually published more than 60 books, most of them paperback originals about crime and espionage, but they also included quite a few westerns. At least two of his novels were made into films: The Cincinnati Kid, and Chuka.

'My name is Montgomery Nash and I am an agent in the European section of the Department of Counter Intelligence. Most of our work is done in teams and my partner is Paul Austin. Was Paul Austin, I should say. His battered and beaten body was found yesterday. I still can't believe it. For three years we've lived and thought as one man; we been tortured, betrayed, starved. We've saved each other's lives many times. Well, Paul's dead now and I have a mission--to find his killer and force him to die the ugly way my best friend die.'

Voices In The House by Pearl S. Buck was published in the UK in paperback by Digit in 1960. The cover art was produced by James Edwin McConnell. McConnell (1903-1995) seems like the epitome of a meat-and-potatoes illustrator, but when he applied himself, like here, he could serve up illustrations as succulent as filet mignons. The British born artist studied at St. Martin's School, a constituent college of the University of London, before embarking on an art career in advertising and publishing. He would eventually become a staple of the British paperback industry, credited with producing nearly a thousand book covers, none better of course than the one I've chosen, which would appear to have almost nothing to do with representing famous author Pearl S. Buck's story about the travails of a wealthy household, but I'll bet it made some of her readers do an intake!

Ravenna And Her Ghosts by Vernon Lee was published in paperback by Corgi in 1962. The cover art was produced by Fritz Wegner. Wegner was an Austrian-born illustrator, whose parents sent him to England as a child in the late 1930s to escape Jewish persecution. He lived there for the rest of his life, dying in 2015 at the age of 91. In 1939, at the age of 14, he was offered a scholarship at St. Martin's School of Art in London. Upon graduation, he began freelancing as a graphic artist, working for Liliput magazine, among others. During his career he produced cover art and illustrations for childrens books and authors as diverse as J. D. Salinger, Raymond Chandler and Dorothy Sayers. For 25 years he was a visiting lecturer at his alma mater, and taught a younger generation of British illustrators, among them Linda Kitson, Nick Sharratt, George Hardie and Phillinda Gili.

Vernon Lee was the pseudonym of Frenchwoman and feminist activist Violet Paget (1856-1935), whose work in the supernatural genre has been compared to that of M. R. James. The American scholar E. F. Bleiler described Lee's stories as "intelligent, amusingly ironic, imaginative, and original."

'These stories, the second collection to appear in Corgi Books, are in a class by themselves--eerie, elusive, macabre. They are the work of a visual imagination brilliant and sensitive to a degree which amounts to genius.'

Every smart, bookish kid who loved dogs, wildlife, or pets in general, has read Jack London's White Fang. If someone hasn't then they probably aren't looking at my blog, and in fact are probably a dedicated Fox News Network watching dummy. Ha! These four editions of White Fang were published by Panther in 1963, Scholastic in 1985, Tor in 1989, and Grosset in 1990. None of the cover art, as good as it all is, was credited. (The Scholastic edition is signed possibly as L. Roberts, but I can't be completely sure).

1989 Tor edition:  'He was three quarters wolf and all fury. Born in a cave, in famine, in the frozen arctic. Born in a world where the weak died without mercy, where only the swift, the strong, the cunning saw each dawn. It was White Fang's world--until he and his mother were captured by the man-gods. But men and their dogs taught White Fang to hate. He was beaten, abused, attacked. He was bought, sold, tortured, trained to kill in blood sports. Knowing no kindness, he became a mad, lethal creature of pure rage. Only one man saw White Fang's intelligence and nobility. Only one had the courage to offer the killer a new life. But can a wolf understand the word "hope"? Can a creature of hatred understand the word "love"?'

Kurt Singer's Horror Omnibus was published in paperback by Panther in 1966. The cover art, which looks like a taxidermist's stuffed animal, was not credited. Kurt Singer died in 2005 at the age of 94, well before the political rise of our homegrown, serial-lying/con-man felon and his fascist, bigoted, insurrectionist, Republican allies. If he had lived longer he would have been appalled, no sickened, by the whole lot of them. You see Singer was an anti-Nazi activist and spy during World War II, who fought valiantly to stop Hitler's tyranny and dictatorship. After the war he began writing non-fiction books and biographies about the evil people who tried and failed to destroy democracy and freedom, so we and the world would never forget, which segued into books on crime and other subject matter. He even edited a few supernatural horror anthologies like the one featured here. Rest in peace, Kurt, you've earned it.

Million Dollar Murder by Edward S. Aarons was published in paperback by Fawcett Gold Medal in 1967. The cover art was produced by Fred Pfeiffer. Pfeiffer (1940-1996) worked as a professional illustrator in both New York and Los Angeles, producing book covers and movie posters and what have you. Although his career was shortened, his legacy is one of outstanding painting and drawing accomplishments, many of which can be viewed here at the Pfeiffer Files.

Edward Sidney Aarons (1916-1975) wrote more than 80 novels, most under his name but also under the pseudonyms Paul Ayres and Edward Ronns. 42 of those novels were in his Assignment series, featuring his globe trekking CIA agent Sam Durell. That exclusive paperback series has proved to be very popular with readers, and in the 20th century sold more than 23 million copies worldwide.

    "Do you still love me, Sam?"
    Nora was his brother's wife now. But the sight of her still tormented him with desire.
    He looked at her, a hunger growing inside of him that could not be denied. He saw the warm light leap into her eyes, felt her mouth against him, her hands smoothing, exploring the taut muscles of his back.
    "Yes," he whispered, "I still love you."
    "Then please," she begged softly, "please don't go to the police."
    Sam had no way of knowing when he found the dying old man adrift in a strange boat that he would become a target for murder. Nor could he bring himself to believe that his beautiful Nora was involved in the strange and violent aftermath of his discover.
    But from the moment Sam had sailed into the harbor he had become a marked man.
    Nora had found a use for Sam.
    Dead or alive.'

The Compleat Werewolf, a collection of stories by Anthony Boucher, was published in paperback by Ace in 1970. The cover art was produced by Alan Lee. Englishman Alan Lee (b.1947) is known primarily for his body of artwork inspired by the fiction of J. R. R. Tolkien, but in fact he has produced dozens of other fantasy and science fiction covers, even horror. Although Lee is not one to use vibrant colors much in his paintings, it doesn't seem to detract from their overall pleasing, rich, atmospheric look.

'Anthony Boucher was long known as an important book critic and editor, master of languages and successful novelist. He was also a superb short-story writer of SFF: inventive, prolific--and always entertaining. The stories and novelettes in this titanic collection were chosen for the sheer virtuosity of their themes, moods, backgrounds; for their technical brilliance; for their insights; for their laughter. They are wonderfully peopled by moth-eaten little demons, grim interplanetary predators, rebellious androids and doppelgangers; by humans with otherworldly talents; and finally, not least, by one very special werewolf. The COMPLEAT WEREWOLF is a memorable volume, representing as it does a rich display of a fine author's creativeness and craftsmanship.'

Cloud Across the Moon by Mary Muller was published in the UK in hardback by Souvenir Press in 1970. The jacket art is not signed. There doesn't appear to be a plot description of this novel online, but the wraparound jacket art does suggest that the story might take place on a Caribbean island. The illustration also suggests that this is most likely a "gothic" novel.

I saw Sam Fuller's movie White Dog first before I read its source, Romain Gary's powerful, semi-fictionalized, autobiographical memoir about adopting a former police dog from the State of Alabama, a dog who had been specifically trained to attack only black people. Both versions fascinated me to the degree that I almost bought Criterion's special DVD release of the film in 2008, and in hindsight probably should have. The book was first published in paperback in the US by Signet in 1970, following its French publication that same year. For anyone whose curiosity has now been piqued, I suggest reading all of the wiki material first, which will then lead you down several rabbit holes: Romain Gary himself, his wife Jean Seberg, director Sam Fuller, actors Kristy MacNichol and Paul Winfield, and reviews of the film, DVD and book. Or just go out and get a copy of the book and DVD for yourself.

Howard Rogers provided the cover illustration on the US edition seen here. Rogers (b.1932) has been a professional artist since 1959, illustrating for the Automobile Industry, advertising agencies, magazines and book covers. He is also a fine arts painter, excelling in western realism, florals, figures and nudes.

'The scene ranges across America, Europe, and Asia, against a background of parties, riots, polite debates, explosive confrontations, agonizing soul-searchings, and life-or-death decisions. The cast of the story includes among others Bobby Seale, Ralph Abernathy, Barbara Streisand, Jean Seberg, Robert Kennedy, Marlon Brando, a black G.I. deserter, an ex-Alabama sheriff, an aging black revolutionary, a black Muslim animal trainer and venom collector named Keys, and the author himself, Romain Gary. But overshadowing the entire fantastic drama is a German Shepherd named Batka, who was trained to love whites and hate blacks, and who somehow had to be changed before he was destroyed...'

This edition of Killer In The Rain by Raymond Chandler was published in paperback by Ballantine in 1971. The cover art was produced by British artist Tom Adams, of noted Agatha Christie art fame. For a lot of male crime novel readers, and I suspect plenty of female crime novel readers, Chandler represents the best of the best in hard-boiled detective fiction. He's no Dashiell Hammett of course, but then again, Hammett is no Raymond Chandler.

'The front of Steiner's coat was mostly blood. His glass eye shone brightly and was the most lifelike thing about him. At a glance none of the three shots had missed. He was on his back on the floor in front of a camera on a tripod. The lens seemed to be aimed at the girl in the chair. She was wearing a long pair of jade earrings, and apart from those she was stark naked.'

After its initial hardback publication in the UK in 1974 (with a decidedly lackluster jacket), The Hounds Of Hell, a horror anthology edited by Michel Parry, was published in the US that same year by Taplinger (top). Their jacket art was produced by Rus Anderson. Anderson began producing book illustrations in the early 1950s, mostly for children and teen books, but eventually he branched out into other areas. His work was traditionally styled in those first two decades, but in the 1970s he began creating more abstracted types of work, like the one seen above. In 1975, UK publisher Arrow reissued the title in mass-market paperback, but their absolutely stunning cover art was not credited.

Michel Parry (1947-2014) is known more for his editing than his writing, but he was good at both actually. He is credited with writing four novels in addition to writing numerous magazine articles and screenplays. He edited at least 25 horror anthologies, and was pretty adapt at picking good stories, only getting in trouble once for including a story that was deemed inappropriate. I believe that anthology, More Devil's Kisses, was recalled and pulped as a result. The Bear Alley blog has an interesting biography of him that can be read here.

1975 Arrow edition:   'Prepare to meet... The Hounds of Hell. Piercing, coal-red eyes. Claws and teeth stained with blood. Jaws that slaver at the prospect of a fresh victim. Buried deep within our unconscious, the savage, primordial image of the Dog-Beast still holds the power to haunt and terrify. Here, from the pens of some of the greatest horror writers of all time, are sixteen nightmare tales to remind you why.'

Elephants Can Remember (1972) is the last Poirot novel that Christie wrote. A dog is featured, but I don't remember if it played a significant role or not in the story. And that my friends is exactly what the book is about: memory and oral testimony. Ironically, Elephants Can Remember was cited in a study done in 2009 using computer science to compare Christie's earlier works to her later ones. Apparently there were sharp drops in size of vocabulary, repeated use of phrases, and indefinite nouns throughout which suggested that the author may have been suffering from some form of late-onset dementia or Alzheimer's during its writing. But heck, Christie was about 81 years old at the time, so let's give her her due; her worst book is probably better than a lot of people's best book. This edition of ECR was published in the UK by Fontana in 1975, and represents the first paperback appearance on either side of the Atlantic. Naturally, the ubiquitous Tom Adams produced the cover art.

'Old sins have long shadows... Hercule Poirot stood on the cliff overlooking the rocks below and the sea breaking against them. Here where he stood the bodies of a husband and wife had been found. Here, three weeks before that, a woman had walked in her sleep and fallen to her death. But why had these things happened...?

The Preserving Machine is a collection of fifteen short stories by Philip K. Dick that was published for the second time in paperback by Ace in 1976. It's not Dick's best collection, but it's still Dick, and that means it's still pretty darn good. David Schleinkofer produced the cover art. Not too long ago Schleinkofer was selling off a substantial amount of his original work but I don't recall seeing this piece--it's a good one too because of the wolf-dog and the old-school computer. The title story, which the illustration is based on, is about a doctor who fears for the safety of classical music in the event of the apocalypse. Accordingly, he orders a machine to be built that will transform musical scores into animals capable of surviving and defending themselves on their own. After the animals are released into the world, the doctor discovers that they have undergone an unanticipated evolution of sorts. And not for the better.

The Hounds of Tindalos is a collection of horror stories by Frank Belknap Long that was first published in hardback by Arkham House in 1946. The paperback edition above is a 1975 reprint of that book by UK publisher Panther, with new cover art by Bruce Pennington. Pennington was, and still is, one of the best British paperback illustrators of his generation. For nearly forty years he produced classic SFF & horror cover art, one impressive image after another, starting with his very first one in 1968, Heinlein's Stranger In A Strange Land.

'Ten terrifying tales... from the highly acclaimed pen of Frank Belknap long, writer of macabre fantasy and imaginative fiction who has won accolades from such masters of the genre as Alfred Hitchcock, August Derleth and H. P. Lovecraft. Here are tales of fearsome beings spawned before time began, gruesome gods and time travel to eras of evil. So hold on hard to your imagination. Don't let it run away with you. You may not get back...'

The Dogs by Robert Calder (pseudonym of Jerrold Mundis) was first published in paperback by Dell in 1977, following the earlier, 1976 hardback edition from Delacorte. The embossed cover art, which brilliantly resembles a woodcut--(heck, maybe it is!)--was uncredited. Grady Hendrix, horror novelist and scholarly author of the important tome, Paperbacks From Hell, didn't appear too impressed by Calder's canine thriller, or dog thrillers in general, but specialty publisher Centipede Press was. They republished it in an expensive, handsome, hardback limited edition, which sold out immediately upon notice. I thought Calder's book was gripping all the way thru, and am thinking about re-reading it.

'The Alpha Litter: They are an experimental breed of canines. Keenly intelligent. Of sensory superiority. Alertness and stress tolerance exceptional. Strongly assertive. Capable of massive, vicious aggression. At the age of fifteen weeks, one--a male--is missing. And a hundred miles away Alex Bauer has found a puppy.'

The Fifth Head of Cerberus by Gene Wolfe contains three novellas, not five as the title would suggest. It was first published in paperback by Quartet (UK) in 1975 (top), following its earlier hardback debut, and then in the US by Ace in 1976 (middle). In 1994 Orb reissued the title in trade softcover (bottom). It has been published many more times in between and since, but only these three editions feature dogs on the cover. But being printed that many times proves the strength of SFF author Gene Wolfe, or rather did, back in the last century when he was dubbed by some to be a National Treasure, and his works were continually reissued and being read. But after his quiet passing in 2019 at the age of 87, I can't help but wonder if he will continue to stand the test of time like his colleagues Heinlein, Dick and Herbert have. 

The Quartet cover art was produced by Jim Burns, and depicts a three-headed Great Dane. The Ace cover art was produced Dean Ellis, and it depicts a three-headed Doberman. Now, I'm not sure if in Greek mythology Cerberus is an actual Doberman, but seeing how they make the best guard dogs, it makes sense that Ellis would choose that breed over say a Great Dane. The Orb cover art was produced by the the late Richard Bober, and he also chose a Doberman. I wish I had a sharper image of Bober's cover, to better showcase his unique, baroquely painted style, but I haven't come across any copies of that edition in ages.

The Mind Spider and other stories by Fritz Leiber was published in paperback by Ace in 1976. The cover art was produced by Walter Rane. Rane (b. 1949) is an American painter and illustrator known for book illustrations and religious art. His greatest accomplishment beyond that of his many book covers is probably the large mural he produced at the LDS Visitors Center at Winter Quarters in Omaha, Nebraska. It depicts more than 800 cabins that were erected for use during the winter months by westward migrating Mormons in the year 1846.

'There can be no doubt that Fritz Leiber is one of the foremost talents writing Science Fiction and Fantasy today. The unique ideas and techniques he has created for his novels and stories have earned him an impressive reputation--both in and out of the Science Fiction world. The stories included in the collection you now hold are some of the finest examples of the high quality, imagination, and pure reading pleasure that the world has come to expect from the genius of Fritz Leiber.'

Hell Hound by Ken Greenhall (1928-2014) was published in paperback by Zebra in 1977. The cover art was produced by Luke Ryan. I found a brief bio online of a realist illustrator name Luke Ryan, who grew up in Astoria, Queens, who produced book covers before becoming a coffee-house musician. A few years ago he returned to the fold, though now his focus is mainly on stippling. I believe this could be the same person who signed the above cover art. Or maybe not.  Greenhall's Hell Hound, like a lot of 1970s horror, fell into the dust bowl of time before being championed by Will Erickson at Too Much Horror Fiction. His positive review (less so with the cover art) helped launch reprints from both Valancourt Books and Centipede Press. Valancourt also reprised two more of Greenhall's six novels, which is great news for fans of quality, unorthodox horror, because these days finding the original editions at an affordable price is next to impossible.

'There is never laughter in this house; only the dull sounds of age and weakness. But I am not weak. I have a strength and resourcefulness that the old woman probably never had. What are the possibilities of my strength? That is a thought I have never had before. What if some morning as the old woman stood at the head of the staircase she were suddenly to feel a weight thrusting against the back of her legs? What if she were to lunge forward, grasping at the air, striking her thin skull against the edge of a stair? What would become of me if she were found unmoving at the bottom of the stairway? Someone else would love me, as she has loved me. I'm certain of that. People have a great interest in love. The see it everywhere; probably even in me.

Ken Johnson's horror novel Hounds of Dracula was filmed in 1977 as Dracula's Dog, but also alternately marketed as Zoltan, Hound of Dracula. That was the same year it was also published in the US in paperback by Signet (top), and in the UK by Everest (bottom; which apparently preferred the film's alternate title). I know I've seen the movie, but I don't remember a darn thing about it. Absolutely nothing. But I can say with certainty that I've never read the Signet edition (or the Everest for that matter), because I've never even seen it even on a shelf, but I do wish now that I had a clean copy of it because it has one of the most effective canine covers in this gathering. Wow!, or should I say Maw! Unfortunately, the "Maw" art was not credited, nor is there a signature that's visible (same goes for the UK edition).

'Horror unearthed! An ancient crypt in Transylvania lies freshly opened. A monstrous creature and its master move through the night. The fangs of the evil past are bared for a new generation of victims... as the most terrifying of all curses come forth to claim not only man but beast for the legion of the undead...'

Best Friend was marketed as a horror novel by Fawcett Crest in 1977, following its earlier publication in hardback by Dutton. Harry Bennett, another ubiquitous paperback illustrator, did his part to push the horror agenda with his jeckyl & hyde cover art for Fawcett. But Best Friend is not horror, at least not in the sense of what we've come to expect from Seventies horror. But then again, there is that Belgian Shepherd who has developed an intense dislike of one of the members of his household, Peter, the philandering shithead of a husband who's married to Isabelle, sweet lovable Isabelle, whom the dog adores. Feeley is actually Patricia A. Falk-Feeley (1941-2023), who had a long and fruitful career in publishing as an editor, journalist, writer and agent, beginning in Sunset Magazine shortly after her graduation from Stanford in 1959. Her career also included writing books, most notably A Swarm of WASPS (subtitled: a guide to manners, morals and mores of America's upper classes), Perfect Needlepoint Projects from Start to Finish (with Kathy Archer), and Best Friend, her one and only foray into fiction. 

'From the very beginning, there was something odd about Beau. He wasn't just an ordinary puppy. He seemed almost human. And his love for Isabelle seemed more like passion... Beau was an admirable dog. A Champion in the making. And something more. Something not so nice. Something nightmarish and terrifying. Something no one in this wold could understand. Except maybe Isabelle. And then it was too late.'

The Rage by Jack Ramsay was published in the UK in paperback by Sphere in 1977, and then in the US in 1978 by Ace. Rabies is the cause of this pooch's "rage", and Ramsay's novel preceded Stephen King's rabid thriller Cujo by five years. Did it inspire King? Maybe, but that would imply that King read everything that came out back in those days, and he may well have, though I doubt it. The Sphere cover art (top) was produced by Melvyn Grant, but the Ace edition (bottom) was not credited. Grant is a formidable talent, whose SFF & horror cover art stretches back to 1975. He's still at it too, though his work is digitally rendered now--an unfortunate reminder of how artists must continually adapt to stay viable, commercially that is, not artistically. 

1977 Sphere edition:   'Rabies--a violent disease which threatened to wipe out the whole population within days. The only likely cure was a vaccine whose effects were possibly as dangerous as the disease itself. Rabies struck terror into the hearts of millions as reports of its terrible symptoms and vile effects spread wildly throughout the country. Rabies turned domestic animals into savage, tormented beasts which would attack without the slightest warning. The virus had to be stopped before it closed its fatal grip on a fear-stricken people--before it was too late...'

1978 Ace edition:   'It began in the French countryside. A fox and a dog grappled, a man got bitten, fell sick, died. The dog ended up next in the stables of the Count's estate. Little Emma loved animals, and though nothing of petting the dog. Her family thought nothing of bringing the dog back with them to their home in England. And so began the epidemic that swept England... an epidemic of terrifying proportions as people and animals struggled in the convulsive death throes of rabies. Lambert Diggery refused to believe his daughter suffered from more than a virus, but when journalist Andrew Stern began to investigate the strange reports of illness, he learned that Digger's daughter had more than a virus... and that Diggery himself was much more than a well-paid civil servant. Stern himself, inveterate bachelor, perennial cynic, found his own world turned inside-out in his quest for the cause of the rabies. But when he put together all the pieces--of the story and of himself--it was too late. Time had run out.'

Night of the Wolf by Jay Callahan was published in paperback by Leisure in 1979. The cover art was produced by R. S. Brown. Brown is a bit of a mystery, no personal information about him (or her) seems to exist, but he (or she) did produce quite a few paperback covers back in the late 1970s and 80s, some of them horror (David Case's Wolf Tracks), but there were also crime, action/adventure, and SF covers, such as the ones on Ed Naha's & John Shirley's post-apocalyptic series The Traveler. The author, Jay Callahan, whose real name is J. C. (James Curry) Conaway, doesn't have much if any personal information available either, but I do know that he had about a dozen paperback novels published back in the same time period, some under his given name but also pseudonyms such as Ross Webb, Leila Lyons and Venessa Valcour. 

'Superstition--or deadly truth? On the trail of a pack of exotic red wolves, magazine reporter Quintin Barkley discovered a deep and mystic bond between the mountain people and the wild, fierce animals who lurked in the depths of the primitive backwoods country of Tennessee. Was there more to the legend of the wolf-people than just an old wives' tale? Against his will, Quintin was drawn to discover the answer, even at the risk of losing his mind--and his soul!'

This edition of Alfred Hitchcock's Monster Museum was published in paperback by Fontana in 1981. The cover art was produced by Julek Heller (1944-), a veteran of fantasy book illustration, whose career began around 1977. The actual editor of Monster Museum is Robert Arthur (1909-1969), noted for his many short stories, radio and television scripts, and for penning the first ten novels in the Three Investigators sleuth series for kids. I own the original Random House hardback edition of Monster Museum (1965), and as a child it helped develop in me a deep regard for horror stories, and their representative illustrations. Among the stories included here are Joseph Payne Brennan's Slime, Paul Ernst's The Microscopic Giants, Murray Leinster's Doomsday Deferred, Theodore Sturgeon's Shadow Shadow on the Wall, Manly Wade Wellman's The Desrick on Yandro, and Ray Bradbury's Homecoming. You can't go wrong with any of them.

Cujo by Stephen King was published in hardback by Viking Press in 1981. The jacket art was produced by Steven Stroud. Stroud has been a book cover illustrator and fine artist for more than thirty years. He's represented some of the biggest names in fiction: Isaac Asimov, Clive Cussler, Pearl Buck, John Cheever, Joyce Carol Oates, and of course our very own Uncle Stevie. In recent years he has devoted himself to producing gallery paintings and landscapes. They're pretty good too!

'A big, friendly dog chases a rabbit into a hidden underground cave--and stirs a sleeping eveil crueler than death itself. A terrified four-year-old boy sees his bedroom closet door swing open untouched by human hands, and screams at the unholy red eyes gleaming in the darkness. The little Maine town of Castle Rock is about to be invaded by the most hideous menace ever to savage the flesh and devour the mind...'

The Godforsaken by Chelsea Quinn Yarbro was published in paperback by Warner in 1983. Yarbro has written over 70 novels and dozens of short stories during her long career, and was honored with a Grand Master Award at the World Horror Convention in 2003. But Yarbro has also written books in almost every genre, including westerns. Point being, don't be so quick to pigeonhole someone based on any specific recognition they have received. The same thing applies to illustrators: Sonya Lamut and Nenad Jakesevic produced the cover art on Yarbro's horror novel, and you might think that's where their interest lay, but in fact both artists have dabbled in every genre, from SFF to mysteries to out-and-out children's books.

'As the Inquisition spread its fiery fingers across the land of Spain, holding kingdom and king in its terrible grip, a new horror would rise to challenge even the invincible power of the Grand Inquisitor. A curse on the house of King Alonzo that came from the very devil. A curse that would leave his daughters unfit to marry or rule. A curse that would transform his only legitimate son, Rolon, into the very Hound of Hell, whose unspeakable secret bloomed under the full moon of a country where terror came in mother's milk and vengeance roamed abroad. Rolon, the chosen, the damned. Rolon, the kind, blessed with a compassionate soul and a great and tragic love; cursed by a secret plague sent by Lucifer Himself. Rolon, Heir to the Throne of Spain, who dared to defy the Inquisition in the ungodly raiment of THE GODFORSAKEN.'

Catch Your Death and other ghost stories by John Gordon was published in the UK in hardback by Lutterworth Press in 1984. The cover art was produced by Jeremy Ford. Ford, who lives in West Yorkshire, England, has been a professional artist and illustrator since the late 1970s, producing advertising art, album covers, book covers, greeting cards, and what have you, before turning his efforts mostly to fine arts painting. He also tutors, teaches, and demonstrates painting and drawing techniques. His black dog is my favorite one in this article: he or she looks entirely normal, except for that slight glimmer of madness in its eyes. Yikes.

John Gordon (1925-2017) was an English writer of YA supernatural fiction. His output included sixteen novels, over fifty short stories, and four short story collections. His work has been compared to that of ghost writer M. R. James, with his best novel being perhaps The House on the Brink (1970).

Embrace the Wolf by Benjamin M. Schutz was published in hardback by Bluejay Books in 1985: it is the first of five mystery novels that Schutz wrote featuring his gumshoe P. I. Leo Haggerty. He also wrote a pair of non-fiction books, one standalone novel, and a bunch of short stories, which he has said to have preferred over writing longer works. Schutz, who passed away suddenly in 2008 at the age of 58, was by profession a forensic and clinical psychologist. He was also the proud recipient of both an Edgar and Shamus Award.

Jill Bauman produced the jacket art on Embrace the Wolf. Bauman was, and still is I guess, one of horror's best illustrative queens, producing scores of covers for horror novels throughout the 1980s and 90s, representing everybody from Charles L. Grant to Stephen King to Peter Straub. She was tutored by artist Walter Perez, whom she also acted briefly as an agent for. She has since spread her wings even further, embracing the fields of crime, fantasy, science fiction, and children's books. 

1986 Bantam paperback edition:  'Washington D.C. private eye Leo Haggerty is the best at finding missing persons. But sometimes he wishes he was better. Like the Saunders case. Five years ago a psycho snatched two little girls, twins, from their suburban neighborhood. The cops have since given them up for dead. But not their father, Herb Saunders. Finding his girls or their killer is his obsession. Two days ago, the phone call came... taunting Herb to come save his lovely twins... twisting the knife in a never-healed wound. Now Herb is missing too. His wife Maggie begs Haggerty to get her husband--the only family she has left--back. Haggerty intends to do much more than that. He'll track the child-snatcher. He'll risk his license and his life to trap this wolf in his lair... Then he'll mete out justice, Haggerty style.'

Night Howl by Andrew Neiderman was published in paperback by Pocket in 1986 (top), and in 1987 by UK publisher Arrow (bottom). The cover art on the Pocket was produced by Lisa Falkenstern (Arrow's shadowy cover art was not credited). Falkenstern is now mostly recognized as a fine arts painter of whimsical animals, landscapes, still lifes and portraits, but she started out as a book cover illustrator in 1980, doing primarily horror paperbacks. And because her covers were not only numerous in number, but stylish and classy, her name will always be associated with the best that horror had to offer.

Andrew Neiderman, a former High School teacher, became the ghost writer for V. C. Andrews following her death in 1986. He had already been writing horror novels since 1981 when his first was published, Brainchild (Pocket), which also benefited from  Falkenstern's art. If you include his ghost-written novels (74 and counting) with his own concoctions, Neiderman has written at least 125 novels.

'Bobby loves King, his playful German Shepherd... until the day King turns, attacking, snarling, vicious. His dog is put to sleep, but Bobby sees him everywhere... in the yard, on the stairs, crouching, waiting, hungry. Then the deaths begin... brutal, savage maulings. Terror seizes Fallsburg and doors are locked at night. Through the woods the big dog runs, eluding veteran trappers with superhuman skill, thirsting to crush human bone between its dripping jaws... Now, more than ever, the scientists down the road must guard their deadly secret. They have unleashed a monster no human can control. Now the beast will hunt its master, striking in the dark with the hideous, blood-drenched sound of its... night howl.'

The Revenge of the Hound, a Sherlock Holmes pastiche, was written by Michael Hardwick and published in hardback by Villard in 1987. Englishman Hardwick (1924-1991) was an acknowledged master of the pastiche form, as well as on the lives and works of folks like Charles Dickens, Anthony Trollope, Oscar Wilde, Jane Austen, George Bernard Shaw and Gilbert & Sullivan. Jim Steranko produced the jacket art on Hardwick's pastiche. Steranko (b.1938) is generally associated with comics, but in fact he's made his artistic mark all over the entertainment world: in advertising, film and television concept work & poster art, and of course book cover art and interior illustrations. When he was younger he was even an accomplished stage magician. And don't ask me about the plethora of awards he's received during his lifetime--it's all rather ridiculous.

    'Holmes shifted impatiently.
    "What poor devil? For heaven's sake, man, out with the details!"
    "I came straight from there to tell you, Mr. Holmes," answered Lestrade reproachfully. "One of the tramps who sleep rough on the heath got attacked by the beast. if the officer passing on his beat hadn't reached him in time, he'd have been a goner."
    "Great heavens!" cried I.
    "Here's the queerest bit, though, Dr. Watson. In some soft ground just nearby there was..."
    "Not...!"
    "Yes, Doctor. The footprints of an enormous hound!"

I've always preferred George R. R. Martin's short stories and novelettes to his novels. Not that his novels are bad--most are really good if not great, such as the first volume in his A Song of Ice and Fire series. But his short works are outstanding, however grim and morbid they might be. Portraits Of His Children is a collection of short pieces that falls easily into the those categories. It was published in hardback by Dark Harvest in 1987. Back then I was buying everything that specialty small press Dark Harvest was offering, for ill or will. The Martin books were my favorites, and their value has held steady, unlike some of their other titles. The jacket art was produced by then husband and wife team Ron & Val Lakey Lindahn, who have since split up. The Lindahn's also produced cover art for another small outlet, Scream Press, and exterior and interior illustrations for too many genre magazines to even try to count.

'Meet a man who battles madness as the sole guardian of a space station beyond the rim of the solar system, or a small band of survivors who are sent back in time as a last desperate effort to avert the "final war." Attend major sporting events that through the use of super-computers have eliminated the need for all human athletes. Or follow a werewolf as he stalks his seemingly helpless prey across a lonely, barren desert. George R. R. Martin is equally adept at taking you for a ride on the back of a dragon, or in the space shuttle. PORTRAITS OF HIS CHILDREN gives you eleven examples of why he has won both the "Hugo" and "Nebula" awards for his short science fiction and fantasy.'

The Wolf Whispered Death by Barbara Moore was published in paperback by Dell in 1988. The cover art was uncredited. I read this mystery novel a few months ago and it was pretty pretty darn good. It kept me turning pages at least, and the veterinarian angle seemed oddly fresh. Barbara Moore (1934-2002) wrote just one other mystery novel, The Doberman Wore Black (1984), which introduced her veterinarian sleuth Gordon Christy. Her other eight books are either non-fiction, historical or general fiction (two were co-written with her husband, prolific writer John Lee). Moore had a degree in creative writing and anthropology, and taught journalism at the American University in Washington D.C. and at California State University in Northridge. For a few years she worked as a reporter for the Denver Post and San Antonio Light.

'The New Mexican rancher had been brutally murdered. The huge tracks around the body were the best clues local police had. But what had made them--a huge feral dog, a wolf, or as nearby Indians believed, a white werewolf? Dr. Gordon Christy, full-time veterinarian and part-time sleuth, was far from his Vail, Colorado, practice. Investigating the crime to help out a friend, Christy and his Doberman, Gala, would follow the trail of a mysterious animal into the sere, majestic territory of the modern Navajo... deep into greed, passion, and ancient tribal superstition... where Christy himself could become prey--to the deadliest animal of all.'

Night Hunter 5, The Hexing by Robert Faulcon was first published in paperback by Arrow (UK) in 1984 (top). In 1988 US publisher Charter issued their paperback edition (bottom). Neither cover artist was credited. The Night Hunter series consists of 6 volumes, and were written by World Fantasy Award winner Robert Holdstock (Mythago Wood), but under his pseudonym Faulcon. Scottish critic Dave Pringle reviewed two of the volumes, calling them "fast paced, with dollops of gore and sex to keep you in a fun frame of mind." And who doesn't want to be in a fun frame of mind?

1988 Charter edition:   'Below London a lost river flows through the ruins of an ancient temple. A group of children unleashes its unholy secret--and falls prey to the gruesome wrath of its guardian. For Dan Brady, their sinister discovery may be a clue to the location of his missing wife and children. Hexed by evil forces, he is prepared to fight to the death. He is... NIGHT HUNTER. Determined and remorseless. A savage avenger of evil. He is sworn to destroy the monstrous forces that brutalized and abducted his wife, his son, his daughter. And nothing can stop him. Not even the darkest legions of Hell itself...'

1984 Arrow edition:   'Below London a lost river flows through the ruins of an ancient temple. When a group of children find it, they disturb the phantom guardian of the place--and are gruesomely hunted down. For Dan Brady, their sinister discovery may be a clue to the location of his abducted family. But is there a connection with the warning he receives--'The moon is coming?' And who has marked his house with the chilling symbols of witchcraft? Desperately searching for his kidnapped wife, Brady interferes with an evil resurrection. Then the blood-crazed ghosts of another age are summoned to stop him.'

It looks like the same cover art from the UK edition of The Hexing was repurposed on Dick Barrett's Time Double. US publisher Lynx published this paperback edition in 1989. The cover art, as great as it is, was still uncredited. There's no real information about Barrett online, and this is, according to isfdb, his only effort in the genre. As such it has only generated three reviews, all at Goodreads, with one commenter condemning it to the "dross" bin. Ouch! 

'All kids dream. All kids have nightmares. Sean's were different. They were pure terror. They woke him screaming. His parents were anguished, helpless. Then there was the accident. The scream of brakes. The dog's tortured howl. Then something inside Sean is triggered and a mental door that should have remained locked is opened. His brain overloads with the weight of forty years of someone else's memories. But in the flood of fear that drowned him came a supernatural gift; a power to sense oncoming danger. One man will soon confront that power. A sullen, violent soul who preys on the defenseless terror of others. A bestial man who has invited evil to consume him, who has felt the young boy's power challenge his own. The boy knows what the man is, what he had done. He must be destroyed. Quickly. Before he learns the reason for his possession. The battle is on. Little Sean stands alone. A small warrior against an old, eternal evil...'

Deadly Harvest by Morgan Fields (Jill Meredith Morgan b.1946) was published in paperback by Zebra in 1989. The cover art is uncredited. Fields is a pseudonym of Jill Meredith Morgan (b. 1946). In addition to her 5 horror novels, Morgan has written a post-apocalyptic series (Eden, published by Pinnacle, 1991-92), a three book dark fantasy series for children (Spider's Child, published by Kensington, 1994-95), and she has also co-edited two volumes of short stories with Martin H. Greenberg (Great Writers & Kids Write Spooky Stories, published by Random House, 1995; and 'Til Death Do Us Part (Berkley Prime Crime, 1998). However, according to the blurb below, and an insightful review on amazon, there may not be a savage dog with glowing eyes attacking anyone in her novel Deadly Harvest.

'Nine-year-old Jodie McCullogh knew there was something really scary in the quiet woods outside her Texas town. It was something that had nearly gotten her and her two best friends; a living nightmare that their fathers didn't believe in and that nobody else could see. She was sure her weird "dreams" were part of it too--frightening visions of a long-ago land, of a savage, ancient evil trapped by an unbreakable power--and of the terrible accident that set it free... Now the peaceful townsfolk of Hobart are under inhuman siege as an age-old malevolence unleashes their darkest wants, feeding on mind-shattering terror and blood as its due. Now Jodie, her friends, and their fathers must fight a terrifying, unearthly battle--one in which she holds the key to a long-hidden secret that may be her town's last, desperate hope...'

 

The Wolf's Hour by Robert McCammon was published in hardback by Grafton (UK) in 1989. The cover art was produced by Bruno Elettori (sometimes spelled Elletori). Elettori is an excellent illustrator, but even the best illustrators can produce something that's unintentionally hilarious. Search online for an image of Charles Platt's novel Soma (Grafton, 1990), and see if I'm not correct.

McCammon published nine horror novels from 1978 to 1992. Three of them were bestsellers. When McCammon wanted to change literary direction and write a historical novel his publisher balked. McCammon, frustrated, and no doubt insulted, promptly walked away and did not return to the field of play until 2002. His historical novel Speaks the Nightbird was then published, followed thereafter by eight more in the same series. They've all sold relatively well.

'It is 1944. A message from Paris warns Allied intelligence of something big in the works--something which might have serious implications for D Day. The only way to get more information from the agent in Paris--now closely watched by the Gestapo--is to send in a personal courier. Russian emigre Michael Gallatin is picked for the job. In retirement as a secret agent since a grisly episode in North Africa, Gallatin is parachuted into Occupied France. on a mission which will take him to the festering heart of the Third Reich on the scent of doomsday. As a master spy, Gallatin has proved he can take on formidable foes--and kill them. As a passionate lover, he attracts beautiful women. But there is one extra factor which makes Michael Gallatin a unique special agent--he is a werewolf, able to change from almost at will, able to assume the body of a wolf and its capacity to kill with savage, snarling fury. In the madness of war, Gallatin hunts his prey--ready to out-think his opponents with his finely-tuned brain. Or tear their throats out with his finely-honed teeth...'

Oktober by Stephen Gallagher was published in paperback by NEL in 1989. The cover art was produced by Paul Bryn Davies. Davies (b.1946) has been a professional artist and illustrator all his working life, producing magazine illustrations, advertising art, greeting cards, poster art and more than 150 jackets and covers, many of them for dark fantasy and horror books. Of special note is thirteen jackets he designed and illustrated for Stephen King. He's also written several "How To" books on drawing.

Stephen Gallagher (b.1954) is an English screenwriter and novelist. In the 1980s he wrote a pair of Doctor Who scripts, which kicked into dozens of genre related TV, radio and audio scripts that continue to stretch well into this century. He wrote and directed an ITV miniseries based on his own Oktober, and he even wrote a script for Silent Witness, the long running (27 seasons and counting) British TV crime series that I both love and hate in equal proportions. Gallagher has also written scores of short stories, more than a two dozen novels and novelizations, and a warehouse full of essays. His latest novella, The Next Thing You See When You Die, is slated for publication in November 2024 by Subterranean Press.

'Beyond the experimental labs, the three operating theatres were used mainly for post mortem dissection. Security was tight. High in the Swiss mountains, the research station was only a small part of the giant Risinger-Genoud drug company. A small but very important and very secret part. The clinical results were fascinating--and terrifying. But there had been a security breach. An outsider, skiing on the edge of the glacier, had had an accident, was lying unconscious near the animal pens... When James Harper came to, he knew only that something had happened to him that was destroying his sanity. The dogs howled in their madness, not understanding that a human being had now joined them as a subject of the Oktober experiments.'

Whisper by Raymond van Over was published in paperback by Pinnacle in 1991. The cover art is uncredited. Van Over has written or edited more than 30 books. They range from novels and general ficiton, to mysteries, true crime, children's story collections, YA novels, folk tales, biography, psychology, and with Whisper, horror. He's also written screenplays for feature films and documentaries, as well as magazine and newspaper articles, advertising copy, brochures, reports and book jacket blurbs. Pretty much the whole biz.

'Some said the old Indian in the backwoods was plumb crazy. Others claimed he was just a little eccentric. And a few old timers swore he was touched with an unholy power to heal. But everyone in the small Vermont town of New Thetford agreed it was best to leave the reclusive Algonquin well enough alone... Brion McKibben saw the pick-up deliberately swerve to hit his dog. Moments later, Whisper lay dead in his arms. Heartbroken, Brion carried him to the remote shack and begged the ancient medicine man to bring his pet back. And sure enough, the dog came home... only now his eyes burned like hot coals, his bristling fur stank of brimstone, and he was no longer eating out of the can. For Whisper has developed an appetite for living, screaming flesh. And he isn't playing dead--ever again!'

Wulf, by Englishman Steve Harris, was published in hardback in the UK by Headline in 1991. Harris is about the same age as Steve Crisp, the English SFF and horror illustrator who produced this jacket art. Harris quit fiction writing, at least in the fields of the fantastic, after seven novels and one collection, all published in the 1990s. By all accounts he was a good writer. Crisp began producing book covers as early as 1979, and although demand for illustrators in the publishing world has been greatly reduced due to the cost-saving switchover to digital and AI. Crisp is, I think, still very active, or as active as he can be in this strange and getting stranger new century. Crisp's fabulous paintings, especially his highly imaginative and polished landscapes, have been an inspiration to me for quite some time. When, or if I ever start painting again, I will model some of what I hope to do after his works.

1991 Headline paperback edition:  'When God's Teardrop begins to call, Sissy Butts knows trouble is brewing. Terrible things have happened on that blighted field; secret things that Sissy has forced himself to forget. And there are others keeping secrets in West Waltham: old Edith Fairburn is busy making a deadly pact with the demanding voice of Mother Nature; one of the yuppies in Vyne Cottage is quietly honing his beloved Bowie knife, and worst of all, big bad Moses Walker is guarding his gate with the aid of a death-dealing AK-47... When James 'Heater' Heatley and his girlfriend, Ember, discover that the villagers are in the grip of a murderous madness which endangers their lives, only Beetle the Biker and the legendary Wulf, guardian of God's Teardrop, seem inclined to help. But Beetle has strange secrets of his own and claims not to know whether the fearsome Wulf is friend or foe... if it exists at all.'

The Streeter by Scott Ian Barry was published in paperback by Tor in 1994. The cover art was produced by Jim Thiesen. I don't know much about the author, he may or may not be the wildlife photographer that has published two non-fiction books about wolves, but I do know something about Jim Thiesen. He was a prodigious horror and fantasy cover artist from about the mid-1980s thru 1997, for Bantam, Ballantine, Zebra, Tor, Roc, and Ace, among others. His signature though is rarely visible on his covers, so identifying what's his can make for tough sledding. But if it's an awesome close up of a scary face, or fangs, or a hand, or maybe a full-blown dragon, chances are it's Thiesen's.

'The dogs hunt as a pack; they eat as one. Huge grizzled beasts, jowls dripping with black chemicals, razor-sharp fangs able to rip a man apart before he can scream, crazed eyes intent on finding more food. Something terrible has happened to the wild dogs that prowl the streets around Amsterdam Starpark, something as unseen and unsuspected as the dogs that lope through concealing mists, hunting their prey beneath the rides filled with shrieking park-goers. People are dying--men, women, and children who thought they were safe until they found themselves alone in the shrouding greyness. alone except for the feral dogs. Dogs who have lost their last fear of man and have been driven to the brink of insanity by chemical waste. Driven to hunt. And kill. And eat...'

Werewolf Tonight by Don Whittington was published in paperback by Avon Camelot in 1995. The cover art was produced by Mark Fredrickson. Whittington is a complete unknown, except for the fact that he wrote about a dozen dark fantasy novels for children, but Fredrickson's information is readily available: he's been a professional illustrator and fine artist for over thirty years, and garnered many national awards along the way. He has produced book covers, magazine covers (Mad & Time, among others), movie posters, and advertising art. Before he made the switch to digital he painted in a traditional manner, and that artwork I find to be simply fabulous. Here's a link to a website featuring and selling his prints, and I do recommend a visit, or several.

'Dear Mom,
I've gone through time to fight a werewolf.
Back for supper.
                                       Winston

'The beast was getting closer--roaring in fury, with blood streaming from its blazing red eyes. Fierce jaws opened, ready to sink its fangs into Winston's arm. But just as the werewolf reaches for Winston's new friend, Winston screams, and the werewolf vanishes... The Winston hears a ghostly voice that warns him: if he wants to save his friend's life, he must enter a mysterious cabinet, and cross over to a distant time and place. It's time to cross the line...'

Grave Matters by Leo Axler was published in paperback by Berkley in 1995. The cover art was produced by Robert Crawford. Crawford (1953-2020) studied at the Rhode Island School of Design and then went on to an award winning career as a graphic artist, producing magazine cover art, book covers and advertising art. I've always loved his book covers; they're always well composed and cleanly rendered; a joy to look at really, especially the mysteries.

Leo Axler is the pseudonym of Eugene Michael Lazuta (b.1959), who by profession is a funeral director. That would explain his three-volume undertaker crime series, which has to be the only one of its kind in existence. Lazuta also wrote full-blown horror, five titles in all, under his name and the pseudonyms Daniel Raven and Alex Kane.

'Bill Hawley joined the family business right out of college. He doesn't mind dealing with corpses, caskets, and grieving relatives. But he's ready for something more exciting--like moonlighting as an amateur sleuth. Because sometimes the death certificate doesn't tell the whole story... GRAVE MATTERS:  Bill Hawley is scared to death of dogs. So he's justifiably chilled when Ellie Lyttle brings in her husband, who died, says the coroner's report, of multiple dog bites. Or did he? A mysterious midnight message raises questions about the deceased that leads Bill into the dangerous underworld of illegal dog fighting. There he must face his worst fears, and put all of his trust in an unlikely four-footed ally named Ansel...'

The Good, The Bad, and the Indifferent by Joe R. Lansdale was published in hardback by Subterranean Press in 1997. The jacket art was produced by Mark Nelson, who sometimes is identified by his middle initial "A." Nelson is primarily an illustrator of comics and gaming products, and he and his wife currently run Grazing Dinosaur Press, a studio of sorts. He's also produced several rather excellent jacket covers for Lansdale. This collection contains 34 stories, 16 of which have never been published before. I've been reading Lansdale off and on since the 1980s and own a dozen of his best books, but at his most recent Tattered Cover bookstore signing his reading selection was, to say the least, crass. On the ride home I had a hard time defending him to my wife, whose introduction to him had been that night. Oh well, Stephen King he ain't, more like Richard Laymon. 
 

We all know there's a runt in every litter. But what about a bad seed? Tim Jacobus obviously believes they exist, or should anyway. He's been painting bad seeds for years on Goosebumps books. So many in fact that in 2021 The Art of Goosebumps was published, a 200 page tome that has all of the cover art of the entire series and the inside poop about how they were conceived and painted. A must have for fans of horror illustration, even if, like me, you've never even read a Goosebumps.

The Barking Ghost, number 32 in the series, was written by R. L. Stine was published in softcover by Scholastic in 1999.

*   *   *   *   *   *   *

LIFE IS FULL OF REGRETS. Book collectors know that more than anyone. Why didn't I buy that signed, limited edition of The Gunslinger? Why did I stop buying Doc Savage paperbacks? Why did I sell that mint Panther edition of The Hounds of Tindalos? Why didn't I buy every 70s & 80s horror paperback that was ever published? (Now there's a legitimate regret!)

Horror paperbacks are always hoarded by their readers, and rarely make their way to used bookshops, at least not in collectible condition, Goosebumps included. When somebody does list one for sale online the price is exorbitant. My friends Patty and Bill used to own a bookshop in Englewood, Colorado. One day a man came in to their store, said he was dying of an illness, and would they be interested in his paperback collection? He had thousands of paperbacks, all in mostly unread, mint condition. About a quarter of them were horror. Talk about pedigree! By the time I found out about it more than three-quarters of the horror was gone. Patty had listed them online for just $3 bucks apiece, and a fellow in Washington State was buying them up as quick as he could type. As quick as I could I bought the remaining ones, maybe a hundred and fifty or so. There were some good ones left but I'm afraid I lost out on the absolute best ones. If only I hadn't lapsed between visits to Patty's store. If only! 

So when somebody tell you they have no regrets don't believe them. They're lying. Life is full of regrets. The key is to not let them fester into an ulcer. Instead, let them flow away like water under a bridge.

So, do I really miss owning that mint copy of The Hounds of Tindalos?

Well, yes. Actually I do. Dammit!

 

HAPPY HALLOWEEN !

[© October, 2024, Jeffersen]