BORGO PRESS BOOKS BY E. C. TUBB
Assignment New York: A Mike Lantry Classic Crime Novel
Enemy of the State: Fantastic Mystery Stories
Galactic Destiny: A Classic Science Fiction Tale
The Ming Vase and Other Science Fiction Stories
Mirror of the Night and Other Weird Tales
Sands of Destiny: A Novel of the French Foreign Legion
Star Haven: A Science Fiction Tale
Tomorrow: Science Fiction Mystery Tales
The Wager: Science Fiction Mystery Tales
The Wonderful Day: Science Fiction Stories
COPYRIGHT INFORMATION
Copyright © 1956 by E. C. Tubb; Copyright © 2013 by Lisa John
Special thanks to Heather and Dave Datta
for scanning this book.
Published by Wildside Press LLC
www.wildsidebooks.com
DEDICATION
For Gary Lovisi
INTRODUCTION, by Philip Harbottle
E. C. Tubb is a name instantly recognized by readers of science fiction, but his novels in other genres are not nearly so well known, chiefly because they were first published under pseudonyms. This non-sf output comprised one historical foreign legion novel, eleven westerns, the ‘Atilus the Gladiator’ ancient Rome trilogy, and a solitary detective novel, Assignment New York.
Some readers may be surprised that Tubb published a detective novel—and after reading it may be surprised that he did not published many more! To be strictly accurate, he has published numerous short stories with a strong detective fiction element—but always within the framework of science fiction. Additionally, many of his ‘Dumarest’ sf novels have strong mystery elements, but it is in his shorter sf stories that he comes closest to simon-pure detective fiction, in such stories as ‘Nonentity’ (Authentic, 1955) ‘Reluctant Farmer’ (Nebula, 1956), and ‘The Ming Vase’ (Analog, 1963). The latter story, particularly, is constructed like a Swiss watch.
In Tubb’s stories, every action and reaction cannot just be allowed to happen fortuitously: it must have a logical reason. Thus, if the hero is caught in an ambush and shot at by the villain, it is not enough for the villain to simply miss (as miss he must to enable the story to continue!). Tubb would seek to explain how the hero had heard the click of the trigger being pulled back, or caught a gleam of light reflected from the barrel of a weapon, etc.—something that instinctively causes the hero to dodge aside at the last moment. His work is consistently logical, and the seeds of any devices to be used later are always planted beforehand—there is no deus ex machina. In other words, Tubb’s fiction consistently employs the precise techniques of the best writers of detective fiction. This fact prompted me to ask the author why he had not written other detective novels.
He told me:
“In all stories logical development is important, but in the detective novel it is essential. To write one with any degree of precision, it is necessary to know what’s going to happen next, and what the ending will be. Not the simplest thing if (as 1 do!) you find it hard to plot in advance.
“Usually my stories, once started, tended to write themselves. Situations grew from situations and, when writing sf and westerns, there was plenty of movement and action to provide development. I could have started a detective novel easily enough, but then would have come the necessity of determining the plot, deciding who the villain should be, the motive, means, and opportunity worked out in a fair and logical fashion. As an analogy, to plot a good detective novel is like deciding, in advance, all the moves of an intricate game of chess. I found it a difficult thing to do.
“Short stories could be given a mystery or criminal element, as in ‘The Ming Vase’, which your instance shows, but to write a detective story, as a detective story, was too painful an exercise.”
How then did Tubb come to construct such an elaborate story as Assignment New York, a book that works on two different levels? Beginning as a traditional tough private eye investigation, with a two-fisted shamus who knows how to take punishment and dish it out as well, it becomes seamlessly integrated into a cerebral detective mystery. The tangled narrative strands are neatly tied into a pleasing knot before Tubb triumphantly unveils them in the classic tradition of the detective story.
The character of Mike Lantry, his private eye narrator, is undoubtedly modelled from the classic Raymond Chandler mould—a hard-drinking cynical private eye, slightly down at heel, but with a fine sense of chivalry and compassion. The opening plotline, involving the Colonel and his missing daughter, is reminiscent of Chandler’s The Big Sleep, but once the story gets underway, Tubb’s plotting and writing become increasingly original.
Tubb explained to me that at first, Assignment New York was written in his usual style at that time, which was not to do too much plotting in advance, but to simply let the story and characters flow. But Tubb came to the end of the story without having identified the murderer! “I simply couldn’t manage to solve the given problem before running out of space!” (In the 1950s, publishers limited the length of their novels to around 40,000 words.) There was nothing for it but for Tubb to go back and rewrite his ms., writing in the clues and developing motives, etc. The antithesis to the normal method of writing a detective novel! A difficult feat, and one reason why Tubb chose not to write another detective novel. But there were other reasons.
Tubb had created Mike Lantry at his publisher’s request, to launch a new ‘Mystery Series’ of American private eye novels. But shortly thereafter, Tubb had been obliged to sever his connections with the publisher, John Spencer Ltd.:
He told me:
“At the time Spencer’s were a low-pay market and I was about to be appointed as the editor of Authentic Science Fiction. I was also doing a full-time job, which only left the evenings and weekends free. Weekends meaning half-day Saturday and all day Sunday, during which time I tried to hit higher paying markets. I informed Spencer’s that I could not submit any further material for them, as I was concentrating on sf, which offered a wider (and more lucrative) field.”
But the character of Mike Lantry did not die after just one book. The canny publishers quickly commissioned another of their writers, Anthony A. Glynn, to continue his adventures. Glynn’s book was entitled A Gunman Close Behind, and this title is also now available in a new Borgo edition. Spencer’s private eye series continued under other writers, most notably John Glasby, who created his own private eye, Johnny Merak. In later years Glasby would revive his character for another U.K. publisher for a whole series of Merak novels. Borgo Press will also be reprinting these fine novels in the U.S. for the first time, beginning with Rackets, Inc.
Tubb’s decision not to continue with detective novels is surely a matter for regret. But at least we can enjoy this single example of his talent. And what’s more, Borgo Press have been publishing new collections of Tubb’s science fiction mystery and detective short stories, which to date include The Wager, The Ming Vase, The Wonderful Day, Enemy of the State, and Only One Winner. Also available from Borgo are his foreign legion novel, Sands of Destiny, and his Ancient Rome trilogy,
