The Mike Hammer Collection, Volume 1
Table of Contents
Title Page
Copyright Page
I, - THE JURY
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
MY GUN IS QUICK
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
CHAPTER 14
CHAPTER 15
VENGEANCE IS MINE!
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
About the Author
She twisted away and there was a loud whispering of cloth and the gown came away in my hands. She went staggering across the room stark naked except for the high-heel shoes and sheer stockings. She rammed an end table, her hands reaching for the drawer, and she got it open far enough for me to see the gun she was trying to get at.
I had mine out first.
This is Mickey Spillane.
I, the Jury
And judge. And executioner. Introducing private detective Mike
Hammer in the book that launched homicide’s hottest hero.
My Gun Is Quick
Mike Hammer couldn’t take his eyes off the bombshell sitting at the
bar. No man could. But which one snuffed her out?
Vengeance Is Mine!
Is she really an innocent blond model? Or is she just posing? Nothing
that looks that good could be that innocent.
Coming in Fall 2001:
The Mike Hammer Collection, Volume 2, featuring:
One Lonely Night, The Big Kill, and Kiss Me, Deadly
Introduction by Lawrence Block
Mike Hammer Novels by Mickey Spillane
I, the Jury
My Gun Is Quick
Vengeance Is Mine!
One Lonely Night
The Big Kill
Kiss Me, Deadly
The Girl Hunters
The Snake
The Twisted Thing
The Body Lovers
Survival ... ZERO!
The Killing Man
Black Alley
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Published by New American Library, a division of Penguin Group (USA) Inc.
Previously published in separate Dutton editions.
First New American Library Printing, June 2001
I, the Jury copyright E.P Dutton & Co., Inc., 1947
Copyright © renewed Mickey Spillane, 1975
My Gun Is Quick copyright E.P. Dutton & Co., Inc., 1950
Copyright © renewed Mickey Spillane, 1978
Vengeance Is Mine! copyright E.P. Dutton & Co., Inc., 1950
Copyright © renewed, Mickey Spillane, 1978
Introduction © Max Allan Collins, 2001
All rights reserved
REGISTERED TRADEMARK—MARCA REGISTRADA
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATIONS DATA:
Spillane, Mickey, 1918—
The Mike Hammer collection / Mickey Spillane.
p. cm.
Contents: v. 1. I, the jury—My gun is quick—Vengeance is mine
eISBN : 978-1-440-67410-5
1. Hammer, Mike (Fictitious character)—Fiction. 2. Private investigators—New York (State)—
New York—Fiction. 3. Detective and mystery stories, American. I. Title.
PS3537.P652 A6 2001
813’.54—dc21 00-052728
Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.
PUBLISHER’S NOTE
These are works of fiction. Names, characters, places, and incidents either are the product of the
author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead,
business establishments, events, or locales is entirely coincidental.
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Mickey Spillane: This Time It’s Personal
If you have never read a Mike Hammer novel before, how I envy you. You are about to take the definitive wild ride of American mystery fiction, and will meet the most famous tough private eye of them all—Mike Hammer—not in a watered-down movie or TV show rendition, but via the gritty, mind-boggling real thing: the unmistakable, electrifying prose of Mickey Spillane.
And—if you have read these novels before, perhaps a long, long time ago—you may be surprised to discover that Spillane isn’t just the remarkable entertainer you remember, but a distinctive literary stylist ... if not an “author” (a word he despises, always reminding us that he is a “writer,” and proud to be one), that his work nonetheless belongs on the same short shelf as that of Dashiell Hammett and Raymond Chandler.
I’ll give you the literary lowdown a few pages from now and make the “case” for Mickey Spillane and Mike Hammer as more than a mere entertainer and the pop-culture phenomenon he created. First, I want to get personal—and that’s fitting, because at the core of Spillane’s success is the personal nature of his storytelling. Mike Hammer is always motivated not by a client who walks in the door, but the murder of a friend. He is a detective, yes, and a much
better one than he is ever given credit for; but he is, first and last, an avenger.
Something personal is at stake at the heart of every Spillane novel, particularly the Mike Hammers. And Hammer himself is (as Spillane has frequently said) “a state of mind;” with only the barest references to physical description—Hammer is “big,” he’s “ugly”—Spillane presents a character so vivid, whose voice is so readily identifiable, that for five decades filmmakers have been frustrated to recreate this famous character satisfactorily on the screen. It’s I, the Jury, after all—emphasis on the “I.” With Hammer’s idiosyncratic yet natural voice, Spillane merges his hero’s mind with the reader’s in a manner that makes a Hammer yarn both immediate and intimate. And like the early Beatles, Spillane knew that using first-person pronouns in his titles would emphasize the personal nature of his hero’s quest.
I started reading Mickey’s Mike Hammer novels when I was thirteen—and that’s the age I revert to whenever I read a Spillane novel. How vividly I recall encountering the clerk behind the counter of some drugstore in some town along a family vacation route, circa 1960, when I wanted to buy the Mike Hammer paperback One Lonely Night.
“Are you old enough to be reading this?” the clerk asked, eyeing the naked, trussed-up dame on the cover.
“I’m sixteen,” I lied.
And the guy shrugged and took my thirty-five cents. That, and my sanity, was all it cost me to become a Mike Hammer fan for life.
I had already read Hammett and Chandler, and Spillane seemed to me then their peer. I still feel that way today—and it still gets me into trouble. For over four decades now, I have found myself in the unlikely position of being perhaps the chief defender of one of the most popular writers of all time. Because of my boldly expressed high opinion of Mickey Spillane, I have been involved in screaming matches; I have nearly been in several fistfights; and I have been dissed and dismissed because of the taint of Spillane on my own work. As beloved as Spillane is—and no other mystery writer has touched readers in so deeply personal a manner—so in some quarters is he roundly despised.
And yet Mickey Spillane—born in Brooklyn on March 9, 1918—is undeniably one of the most influential writers of twentieth-century mystery fiction. And after fifty years of critical pummeling, he is now ... finally ... widely acknowledged as the master of the post-World War II hard-boiled private-eye novel.
The 1948 Signet reprint of his 1947 E.P. Dutton hardcover, I, the Jury, sold in the millions, as did the six tough mysteries (all but one a Hammer) that soon followed. A veteran of World War II, Spillane connected with other returning GIs by providing entertainment that in its violence and carnality reflected a generation’s loss of innocence; but Spillane was also a veteran of comic book writing, and he delivered these tales in a viscerat, visually hard-hitting, direct manner.
Spillane’s impact on the mass-market paperback industry was immediate and long lasting, his success soon imitated by countless authors and publishers. Gold Medal Books, America’s pioneer “paperback original” house, was specifically formed to tap into the Spillane market. The new level of violence and sex found in Spillane’s fiction influenced not only other mystery writers, but virtually every branch of popular storytelling. His detective Mike Hammer provided the template for James Bond, Dirty Harry, Billy Jack, Rambo, John Shaft, and countless other fictional tough guys.
This omnibus collects the first three Mike Hammer novels—novels that turned publishing on its ear.
So perhaps it would surprise you to know that the most recent Spillane novel, Black Alley (1996), is only the thirteenth Mike Hammer book thus far. The Hammers represent a little less than half of Spillane’s novelistic output—hardly a huge body of work—and yet Spillane’s sales exceed 130 million copies, leading to the popular misconception that he is a prolific writer in the vein of Erle Stanley Gardner or Stephen King. An international sensation, Spillane was at one time the fifth most translated author in the world.
Spillane’s success made him—and Mike Hammer—a media star. There was a Mike Hammer radio show at the end of that medium’s “golden age;” a daily comic strip (ending abruptly following criticism of a panel depicting a man torturing a captive woman); gritty movies (significantly, director Robert Aldrich’s influential 1955 film noir Kiss Me Deadly and the 1963 The Girl Hunters, in which Spillane starred as his famous hero—both now available on home video in glorious widescreen); and popular TV series in the 1950s and 1980-90s, starring Darren Mc-Gavin and Stacy Keach, respectively.
Along the way Spillane quit writing about Hammer, twice—in 1953, after his surprising conversion to the conservative Jehovah’s Witnesses sect; and again in 1970, out of apparent boredom. Occasional movie star Spillane has become an immediately recognizable American pop-culture personality, due largely to his successful series of commercials for Miller Lite in the 1970s and 80s, in which he spoofed Hammer’s tough, womanizing persona.
Always an innovative storyteller and stylist, Spillane controls the reader by the commanding presence of his central characters, via an intense yet seemingly effortless use of first-person narration. From the moment his first novel hit the paperback stands, Spillane touched the psyche and libido of the reading public and influenced the shape of adventure and mystery fiction. Raymond Chandler’s Philip Marlowe, for example, did not sleep with a woman (on the printed page, at least) until Hammer had blazed that sexual trail.
As Spillane scholar James Traylor has noted, the Hammer novels revealed the darkness underneath that 1950s Norman Rockwell surface, particularly the darkness inherent in the archetypal frontier hero, of which Hammer was a modern urban extension. Mike Hammer was perhaps the first widely popular antihero: a good guy who used the methods of the bad guy in pursuit of frontier justice, a vigilante who spared the courts the trouble of a trial by executing the villain himself.
Hammer remains the most misunderstood of American “tough guy” detectives. From his first novel, Spillane has been a social historian, painting an America whose postwar world did not live up to expectations; whose returning war heroes (Audie Murphy comes to mind) were passionate, righteous, yet flawed, even disturbed. Spillane’s novels have always concerned themselves with political corruption, lust for money, and such social evils as drugs and prostitution. Spillane’s vision is of a postmodern America, after World War II had destroyed her innocence, when its population woke up screaming from the American dream.
It has been my privilege—getting personal, once again—not only to meet Mickey, but to get to know him. Because of my reputation as his defender, I was asked at a mystery conference in 1981 to be the liaison between guest Spillane and the staff. We spent hours talking and have since spent time at each other’s homes, collaborated on several projects, and—this is still astonishing to me—are good friends. One of the most amazing things in my life—and there are any number of those—is receiving the occasional social phone call from Mickey Spillane.
The creator of Mike Hammer is my son Nathan’s godfather, and is as kind and gentle a man as Mike Hammer is mean and rough; but he is, I promise you, every bit as tough as his creation. I would never cross him—and yet I know, if anyone ever did me wrong, Mickey would be there to put things right.
These three novels speak for themselves, but I will say a few words about each.
I, the Jury is perhaps the most traditional hard-boiled mystery of Spillane’s career, lean and swift, with the opening sequence—in which Hammer swears vengeance—and the classic shocking closing— in which Hammer takes vengeance—the most typically Spillane aspects. But from the very start Mickey was writing fight scenes of uncompromising brutality—no one writes action sequences better—and the alluring presence of beautiful willing women keeps the novel steamy, even after all these years.
The opening of My Gun Is Quick (1950) is a rare passage that Spillane—who rarely discusses his craft—singles out as a favorite ... his “once upon a time” invitation to the reader to sit down and “vicariously” enj
oy an extraordinary tale. What follows—in addition to hard-hitting action and sensual romance—reveals Spillane’s working-class instincts, his identification with society’s dregs, where a prostitute represents nobility, while the upper class stands for ... something else.
Vengeance Is Mine! (1950) reveals Mickey at his fast-paced best, with a tricky mystery, action, sex, and perhaps the best “socko” finish of any Spillane novel. Mickey has hit his stride here, as Mike Hammer and his beloved secretary, Velda, race through a fever-dream Manhattan, and this book represents—if there is any such animal—a “typical” Spillane novel. As Frank Sinatra once said, after listening to the playback of one of his own tunes, “If you don’t like that, you don’t like ice cream.” Again, Spillane’s pride in his craft comes through when he singles out this novel as a personal favorite because he had managed to save the surprise ending until the very last word.
For those of you meeting Mike Hammer for the first time, if any of these surprise endings do not surprise you, it’s only because so many other writers (and moviemakers) have—in the intervening years—stolen them. Rarely has it been noted that Mickey’s endings—with Hammer’s elaborate confrontation scenes with villains, in which every twist and turn of the twisty, turny plot is revealed and explained—connect the writer with the more complicated solutions of nonhard-boiled practitioners in the Agatha Christie mode. The Spillane surprise ending is a combination of stunning revelations followed by Mike Hammer’s personally rendered justice upon the villain ... always exciting, never pretty.
Yet, after all the talk is over—whether about sex or violence or more literary matters—what these books are about is friendship, about loyalty in a world where disloyalty is common currency.
Mike Hammer is about to enter the room where his best friend—a guy who gave an arm in combat to save him—has been murdered. The world’s toughest private eye will shake the rain off his hat, and the ride will begin.