Category Archives: Interview

An Interview with Ernie Laurence, Jr.

Virtual Pulp is pleased to once again host THE INFAMOUS REVIEWER GIO as he interviews the author of the Islands of LOAR: Sundered.

Gio: Book 1 came out over a decade ago, what exactly drove you to write it and then have it published? Looking back now, would you make any changes or have done anything different?

 

Ernie Laurence: The Islands of Loar series is the last series I wrote.  I have written over 40 novels-worth of stories, but never went through any editing or publishing.  When I married back in 2005, my wife found out and encouraged me to publish.  So, I began the long process of actually learning the craft.  I took several classes, mostly technical writing classes, and learned about editing and eventually publishing.  Since Loar was the last, I felt the most confident (and the least emotionally attached if I didn’t do well) publishing that series first.  I referred to Sundered as “my Isaac”, a child to be sacrificed on the altar of public opinion, so to speak.


I had been telling stories for a long time and they were always well received.  I am a forever GM when it comes to tabletop gaming and some of those elements have made it into my books, though I have expanded the stories well beyond that.  When I started down the road to publishing and let people know, I received a lot of encouragement from those close to me.  The initial versions were well received with some helpful criticism.  Thean, for example, came across as kind of flat to a lot of people and several told me to tighten the story by dumping him.  However, I knew he had a purpose and so I went back in and thickened his story a lot.  I’m glad I did that.

The only difference I would make, and actually have made, is to bring the book more in-line with what I’m doing with the tabletop gaming system I’ve been working on for 7 years now.  The other books grew more aligned with it as I began to develop it.  A couple of years ago, I went back and made some tweaks so that would be the case for all of them.  An example is that I changed Spenciel’s “class” from monk to kaisoma.  And I’m really proud of that word. Heh.

 

Gio: The first thing that strikes me as I read Sundered is the introduction of a multitude of characters, and not just minor characters but major players. Was that a conscious decision, to add so many characters as the story unfolds?

 

Ernie Laurence: Yes.  I read a lot.  I’m somewhere over 4000 books now.  And the ones that I really enjoyed were those with a rich cast – the Wheel of Time for instance.  In fact, I wrote the Islands of Loar right after Crossroads of Twilight published in January of 2003.  I read an article at one point that said, “write each character as if they were the main character” and it used Han Solo as the example.  Han wasn’t just the shuttle pilot for Luke, Ben, and the droids.  He had his own backstory, motivations, goals, and rich personality.

So every character in Loar is like that.  Even the minor ones have their own story.  As I have time, I fill in those tidbits on my wiki for readers to get more depth as they like.

Loar is a story about people in desperate straits.  The only way they are going to survive is together.  I needed a large cast to emphasize this point.  It wouldn’t just be one hero with extraordinary powers in just the right circumstances.  It would be an entire world of people working together to save themselves from annihilation.  Sundered sets that stage by showing the people as disconnected from each other as the Islands are from the original planet they used to be a part of.

 

Gio: Without giving out any spoilers, what is the ‘Sundering’ and what caused it? I ask because for example in Lord of The Rings we know at all times what the cause of all the troubles in Middle Earth is, but in Loar it seems like this is not as clear (at least not in book 1).

 

Ernie Laurence: The Sundering is the explosion of the planet.  Some force, or maybe several working in conjunction, literally tears the planet apart.  It is only through the elemental magic of the sorcerers that anyone survived at all.  The geomancers hold the twenty largest chunks where people have gathered together.  The aeromancers held the atmosphere over them.  The pyromancers channeled the heat of the explosion around the chunks, and the hydromancers used the specific heat capacity of the ocean to absorb what the pyromancers couldn’t redirect.  Once the cataclysm itself ended, they then worked together to stabilize their world.  I intend on writing more about all this and perhaps even turning the part immediately post-Sundering into a MMORPG where environmental changes the players make working together can become permanent.  It will be a much more cooperative MMORPG than standard titles.


I don’t want to specify what caused the Sundering here because that’s part of what the characters (and readers) have to find out as they move through the series.  There are a lot of hypotheses and the characters of the world think they know early on.  It isn’t revealed until later if they are right, partially right, mostly wrong, or if the Council of Wind is just making things up to control people.

 

Gio: There are a lot of politics involved in Book 1. This makes Sundered much more complex than your typical action/fantasy novel because we have individuals in power who basically play this game of chess with people’s lives. Politics and legislature seems to play a big role in this world. Was that also a conscious decision to go that route, and where did you get this idea of writing these pretty intense political debates from?

 

Ernie Laurence: A large part of the hook of the story is for the reader to figure out who the bad guys really are.  The politics are an integral part of the story because it sets the saviors of the world up as the initial antagonists.  They are a council of monarchs, tyrants with near absolute power who control the atmosphere around the Islands.  If you do not obey, they simply remove the air from around you and you die.  They can do this for their entire Island so there is no opportunity for rebellion.  This is in large part because the geomancers and pyromancers are gone.  The hydromancers, for whatever reason, have been relegated to river rats scraping a living out of meager fares carting people around on boats.

This intense political atmosphere drives against the work of the protagonists for a large part of the story as things get worse and worse through the series.  Ultimately, I set up a counter-plot to it, but that’s not in Sundered so I’ll say no more.  The politics and economics, though, are reflective of that overarching thought: Loar won’t survive if they are divided and the political actions of the aeromancers are dividing the people more and more.  Sadly, most of them are just too tired, too downtrodden by living on a broken world to fight back.  They need some jolt to wake them from their stupor, some shining light to guide them out of the darkness.  There’s even a chapter called “Boiling the Batrachos” (Chapter 39) where the Dhorens are introduced.  Its purpose is to show that the few people who are speaking out against the tyranny, the bards, are being systematically rounded up and silenced and no one is stepping up to defend them.  Batrachos means “frog” so it’s a familiar analogy for most readers.  The society has been on a slow-burn fall into tyranny and they are just accepting it so long as they have air and food.

There are certainly parallels with our own world, at least in the most general sense.  I don’t have specific political groups or individual politicians in mind when I write the aeromancers.  They are their own characters.  But the idea of tyranny versus liberty and America’s slow slide into the former certainly has a strong influence on my thinking and how I crafted the political climate of Loar.

 

Gio: Going back to the multitude of characters we encounter, it seems like there is no one main character here, but readers might find a personal favorite character as they further explore this world. In your mind, who is truly the main character or protagonist here?

 

Ernie Laurence: One of the conscious decisions I made when starting out on this world was that this story was bigger than one person, one hero.  The main protagonist is all the heroes working together and those who join them later (yes, the cast definitely grows).  There are three “main” threads in Sundered, each with its own cast.  Doogan’s group, Spenciel’s group, and Thean’s group.  In Sundered, they begin to cross paths as I set up the main conflict over the four book arc.  In book two, “The” protagonist, the group, starts coming together as choices and circumstances make that necessary.  In terms such as you are asking about, it is more helpful to think of the protagonist as the group and the antagonist as a question mark.

 

Gio: we’re now on Book 4. What do you have in the works for the immediate future and what can we expect to see regarding Islands of Loar? Are you planning to focus more on the novels or tabletop games?

 

Ernie Laurence: I have a lot of pots on the stove, so to speak. My main project right now is to finish the art for the Player’s Handbook for the tabletop system.  We already have an introductory module out for sale so it’s important to get the core rules out soon.  Yet, as far as novels go, I am going to polish a novella I wrote called “Steel” for publishing.  I’m also working on bringing my very first novel up to date maturity-wise, polish it and then publish.  This is the first book I wrote that turned out to be more than 350,000 words.  So it will be broken into a trilogy.  Right now it’s just called “Demon War”, but that will be the trilogy(?) and each book in the series will get its own name.

Plans to revisit Loar in the future are laid out.  There are unwritten novels from different time periods that I want to write.  The arrival of humans pre-Sundering, the Godswar that leads up to the Sundering itself, something immediately following the Sundering (maybe a video game), the War of Wind and Fire, and then another related series that I don’t want to say anything about as of yet.  There is a hint about it in Book 4 of this series that you are reading.

There are a lot of novels written already though that need polish and publishing so I will likely go back and forth between those and new works as well as continually writing modules and the other core rulebooks like the Creature Codex, the Game Master Guide, Manual of Mysticism, Economic Encyclopedia, and so on.

An Interview with Robert Victor Mills

As in the recent review of the author’s latest, this Q & A is brought to you by the INFAMOUS REVIEWER GIO.

Gio: This being only your second publication, how long have you been writing and what made you decide to publish your works only recently?

RV Mills: Well, on leaving university in ‘94, I decided to have a stab at this writing game. Over the next five years I wrote two fantasy novels, submitting them to publishers and agents. A different business, back then, just before the birth of the internet, when sample chapters had to be printed out and mailed in big brown envelopes. I stuck at it for about five years of silence and polite rejections, but, life forged on; family, a full time job and more college. I don’t recall ever consciously giving up on the dream, though I definitely gave up on the reality. All those papers were thrown into a document box and forgotten about.

Nearly twenty years later, 2017, with both my parents gone and me in the process of selling the old family home, I came across that document box. It was, shall we say, interesting and informative. One experience that a writer can never have, is to read his own work completely cold, with fresh eyes. Reading the contents of that box was as close as one might get, because I’d forgotten almost everything I’d written! Of course, the tale would be wonderful if I could romantically announce that I had rediscovered some lost masterpiece. Oh no, it was all terrible! Just awful! But, with that fresh perspective and an older head, I could see plain as day where all my failings as a writer lay. A very useful experience.

Should you be wondering, I burned those manuscripts in the garden in a steel bucket. The world has no need of such horror!

I guess, that would have been that. However, once again, life happened. The virus came, and lockdowns. Like everyone else I read books, watched movies, listened to music, picked up new hobbies, slow tortured by increasing boredom. It drove me to again pick up the pen. I started scribbling science fiction stories, just for my own amusement, nothing else.

Towards the end of that very peculiar period, three things happened, all seemingly the same week. First, I read an article which essentially argued that many talented writers were being turned away by publishers and agents for the sole reason that they didn’t fit a desired demographic, and that this had been going some years. Second, I caught a livestream by the comic book artist Ethan Van Sciver. There’d been an incident with a movie director that had him really riled. And he persuasively called on his viewers to have a go at creating, something along the lines of: “If you can draw, draw! If you can write, write! We need you!” Thirdly, that same night, I had a dream.

I quite often have vivid dreams. Boy, this was one! An entire story played out in my head, like a movie, of a mighty warrior with hair like flame, and his companion, a poet and bard with a tongue like quicksilver. Together they were rescuing a princess snared by a snake cult. Vicious fights, monsters, gore, glory. No names, no dialogue, just images and allusions, but as real as if I were there, involved. I woke up, it was as if a switch had gone over in my mind. I got up, sat down, started writing. And that, eventually, became the first story of Rhoye and Astropho.

Gio: The first thing that we notice when reading ‘The Isle’ is your prose. How did you come to develop and hone such a brilliant prosaic style?

RV Mills: Well, firstly, thank you for the compliment, that’s incredibly kind.

I suppose the short answer is, a long lifetime of reading. I grew up in the 70s and 80s, youngest of eight children, in quite a traditional working class family. Having five older brothers, there was always a lot of stuff left lying around to read, not all of it of a suitable age rating, either. I adored reading. I would read anything I could get: Bond novels, horror, movie tie-ins, comics, magazines, but I always gravitated to more fantastical stuff, myths and legends. Then, for Christmas 1982, my eldest brother gave me a copy of ‘The Warlock of Firetop Mountain’ by Steve Jackson and Ian Livingstone. That gift pretty much started me down the path I’ve followed since. From reading those fantasy gamebooks I progressed to Tolkien. I remember saving furiously for weeks to buy a paperback edition of ‘Lord of the Rings’ in 1985. And from there to Mervyn Peake, Anne McCaffrey, Robert E. Howard, and so on. Those books also got me started on a decade of Dungeons and Dragons, first as a player and then, while I was at university, as a dungeon master. I long since gave my rulebooks away, but I still have the dice! 

Naturally, I suppose, my love for reading channeled me in that direction academically, which led to a degree in English Literature. That opened me to a deal of far older material, such as Homer, Mallory, Chaucer, Shakespeare, and classic novels and poetry. That’s chiefly where my reading interests lie now, in older writings, in heroism and chivalry. I often joke that the most recent book I’ve read is ‘The Return of the King.’

As you can tell, my jokes are seldom ripsnorters!

Gio: Your novella seems to be paying tribute to the greats of pulp narrative such as Robert E. Howard and Lovecraft. How do you prevent modern progressive culture to leak into your work, as we seem to be constantly bombarded with it?

RV Mills: Part of it for me, I think, is modern stuff just doesn’t interest me. I’m engaged, as a reader and now as a storyteller, in older ideas, of nobility, of chivalry, of duty, of sacrifice. And I think Van Sciver and the creators in the Iron Age movement are right, there has to be representation of those older strains of literature and entertainment for those members of the audience that still want and desire them. That’s where I’m at, and, honestly, it’s where I’ve always been. That is what my fictional world of the Wandered Lands represents, I think, a place where a reader can become lost in pure escapism, like Middle Earth, Hyboria, or Lovecraft’s old Arkham. My creations are never going to be for everyone. And I’m fine with that. Plenty of other stellar creators out there doing great, great things to satisfy other tastes.

Gio: Rhoye is your MC, however your novel is so rich in characters that he really never steals the spotlight. Was that something you did consciously?

RV Mills: You mentioned Howard. One of the aspects of his Conan stories I really admire is that, in quite a few of them, Conan is almost a secondary character, while the heroine leads the narrative. Valeria in ‘Red Nails’ springs to mind. I like that technique. I think it broadens the scope of the story and grants fresh perspective to events as they unfold. So in ‘The Isle’ we see Rhoye’s standpoint, Astropho’s, and Aona’s. Each offers a unique flavour, I think, which allows the tale room to breathe.

Gio: Speaking of supporting characters, I must admit the crabs were my favorite ones. How did the concept of an island so very much dominated by these crabs come about?

RV Mills:

Another dream, a nightmare, and with a very specific source. I’d been reading Dr. Jordan Peterson’s ‘Twelve Rules for Life’. That opening chapter, the one with the lobsters, really stuck in my mind. That night, I had a dream of two swordsmen dueling to the death on this hellish shore just swarmed over with the most disgusting crustaceans, not just lobsters but crabs and horrid sticky slimy things. So vivid, I just had to weave it into a story! So I got me a cup of tea, sharpened my pencil, and set to work!

As it happened I’d been working on an idea for a pirate story which really had very little direction. And I had another idea for a tale about a lost shrine. Suddenly these three ideas fused as one in my brain, and that was that. I had no real conception of how long it would turn out to be. I tend to just let each story dictate its own length. It came out long! But I’m exceptionally proud of it. I think it’s a very entertaining piece.

Gio: Can we expect more longer format stories similar to ‘The Isle’?

RV Mills: Yes, I have another finished novella which I’m hoping to put out in February. I’m waiting on artwork for that. It is called ‘The Girl with the Fire in Her Hair.’ It was written before ‘The Isle’ and is a little shorter, but I’ve included a back-up story which is a natural sequel and companion piece.

I’m currently writing the sequel to ‘Man of Swords’, hoping to put that out at the end of summer, which will contain further adventures of Rhoye as a younger man, his wandering through Bruthulia against the backdrop of the war with the Sarkaenid. About halfway complete on that project, as we speak. 

Gio: What inspired the title of this novel?

RV Mills: I struggled to decide on the best permutation! I wanted to mention the ‘shrine’, because shrines are mysterious, and the ‘scarab’, because also mysterious, and also ‘sickness’ to add a pinch of peril, but also the ‘isle’ to hint at location. I wrote it all down, read it back, and yes, it is indeed a mouthful. ‘The Isle of the Shrine of the Sick’ning Scarab.’ But I love it. The ‘e’ in Sick’ning was the only edit I could stand to lose!

Gio: Any plans for spinoffs? Astropho seems to be a very complete and well defined character who could possibly branch out and have his own adventures.

RV Mills: Astropho will return in ‘The Girl with the Fire in Her Hair.’ I have half a dozen other completed stories featuring the two friends together, I’m just in need of some connective tissue to link them into a narrative that is itself compelling, rather than just throw out a collection of disjointed short stories. But, yes, there’s more to come from Rhoye and Astropho, for sure.

Regarding spin-offs, I have two other characters that I am very endeared to, and have written two long stories with a third in outline. They are two templars of Erishala, Vicatiora and her mentor Kionates of Dalathopos. They are essentially sleuths in a fantasy setting, with Kionates being observant and wise if a tad senile, and Vicatiora being green, yet headstrong and quick. Together they solve very peculiar mysteries which abound in the city of Altamantia, and which usually have a magical bent.

But, that is a good ways off, as yet. Watch this space!

Note from Virtual Pulp: Stay tuned for a follow-up interview of Robert Victor Mills by Gio!

Guerilla Authors of the Culture War: An Interview With Paul Hair Part 4

In this last installment of my interview with fellow author and blogger Paul Hair, we discuss some of his books, the illiteracy/dumbing down of our culture, comic books, the author business, and a little more theology.

Be sure to check out Part One, Two, and Three. Also consider reading some of Paul’s work. It’s rare to find any work in the entertainment industry not crafted by people who hate you–why give such people your money? Virtual Pulp has undertaken a quest to find entertainment by people who don’t hate you, and Paul is one of the authors we’ve found.

Enjoy:

HANK: Talk about your writing: what have you done; what are you working on now; what kind of projects do you anticipate taking on long-term?

PAUL: I encourage everyone to visit my Amazon author page. Please buy, read, and tell others about my books. Also, don’t forget to click on my author name here at Virtual Pulp. I’ve published some wonderful flash fiction and short stories here.

The first, major book I was involved in writing was a nonfiction book I co-wrote/ghostwrote with Matt Barber. It’s called Hating Jesus: The American Left’s War on Christianity. The book was published in 2016, but it’s still relevant today. I encourage people to pick it up.

Hating Jesus was successful. But it was also a lot of work because it was nonfiction. Nonfiction means a ton of citations. And that is a massive amount of work—a job that is so big that it could be a separate job onto itself when writing such a book. But it wasn’t. It was a job we undertook ourselves.

So after that, I thought about doing fiction instead. Fiction means no worrying about citations—no worrying that you are quoting people accurately, correctly representing what they mean, or appropriately using sources. It’s so much easier and shorter. And it’s a lot more fun.

The first fiction I published was Mortal Gods: Ignition. This is an anthology of three short stories that takes place in a universe where superhumans exist in a real-world setting. The book shows that this was my first time writing fiction. I’ve learned a lot about the craft since then. But it’s still good and a quick read.

Then it was onto establishing the Appalling Stories series with authors David Dubrow and Ray Zacek. The first and second books in the series were anthologies. The third is a novella. We’re working on a fourth one now, which will be another anthology of short stories. We have a fantastic group of authors (including you) contributing to this one. I believe it has the potential to be the best yet. I’m certainly excited about the story I’m writing. It should be one of the most fun stories I’ve written; an adventure story with a twist.

HANK: That’s right: we both have a story in the anthology! Will it be coming out late this year or early next year? David said something that made me think late in 2019.

PAUL: Late 2019 is our plan, so we hope to have it published soon.

Beyond this, I’m co-writing/ghostwriting two novels with two people. I won’t reveal their names right now but I’m excited about these novels, and will promote them heavily once we’ve published them. Additionally, I’m working on a young adult novel (or novella) where a teenage boy is struggling with coming to terms with his younger sister who has declared herself to be “transgender.” Through the course of the story, he finds out why she has decided to pretend to be a boy, and from there he works to both address that, and protect her as she deals with issues of self-loathing.

Longer term goals include writing more Mortal Gods tales (again, that’s my universe where superhumans exist in a real-world setting—read a few Mortal Gods short stories here at Virtual Pulp), speculative fiction tales, contemporary tales, and more. I don’t have a particular genre that I enjoy.

HANK: I have too many that I enjoy. Pretty much everything except horror, chick-lit, and the sexual deviancy genres. From a practical business standpoint, I need to just pick one and write series in that genre. But there’s just too many kinds of stories I want to tell.

PAUL: I like working in different genres too. And I think we can successfully do it (including writing series of books).

HANK: What inspired you to write prose tales of superheroes?

PAUL: I have tentative plans for superhero tales, but right now I’ve written superhuman tales. What’s the difference? My Mortal Gods superhuman tales take place in a real-world setting. No one dresses up in costumes and fights as a vigilante (unless he wants to be arrested and imprisoned).

As far as why I write prose tales about them: it’s much simpler than a comic book, and prose allows for a more cultured way of telling a tale than a comic book.

If you want to do a comic book, you have to find an artist capable of doing the artwork. That takes time and money. Fine, if you want to do it. But that’s hard to do. People are turning to crowdfunding to try to do their own comic books. Some succeed, others fail. And if you’re taking two or more years to deliver the final comic book (if at all), are you really succeeding? So from that perspective, it doesn’t make sense for me to do a comic book at this time.

Also, prose is more cultured than a funny book with pictures. I’m not against comic books, but I understand that you can do more from a literate perspective with prose than with a comic book. That’s attractive to me.

Again, I’m not against comic books. I have ideas of what I’d like to do if I ever got the money to do so. But I’m not planning on that right now. I’m enjoying writing prose tales of superhumans; creating the universes and offering a new and exciting vision through prose that no one else is offering.

HANK: Describe the audience you envision for your fiction, past, present and future.

PAUL: Everyone. But to start out, people who are right-of-communist and right-of-satanic are the target audience. Seriously, the mainstream entertainment world isn’t just ignoring this group of people; it has declared war on them.

I’m serious when I say I don’t want to continue supporting them. I imagine others feel the same way.

HANK: Yeah. Me, for one.

PAUL: Going back to my previous comments on theological matters, I’m under no illusion that my works will be read 100 years from now. (I’ll be doing well if I can continue growing the amount of people who are reading them right now.) That’s okay, of course. Everything will eventually pass away. This also means I’m working under the 70% doctrine. I know I’m not going to be the next Shakespeare or literary master. So my goal is to try to publish works that I’m at least 70% satisfied with at a relatively high rate. It makes no sense to try to publish the Perfect Work if it takes forever to publish it. Produce. Get works out there that earn money and create intellectual property. No, I’m not suggesting I become some sort of corporate mill. But I know that I have to earn money to continue writing, and I have to produce stories if I ever want to consider myself an accomplished author.

(Seriously, if one isn’t producing works on a regular basis, and if few people are reading said works, then one isn’t an author; he is effectively a teenage girl who writes in a diary and keeps it under a mattress at night. Both have the same amount of people reading their works.)

HANK: Ouch.

I don’t know if I could stick to the 70% doctrine. It turns out I’m a compulsive editor, revising and rewriting as I go. Even after publishing, sometimes, I go back and tweak.

PAUL: I know what you mean. But for me, it comes down to forcing myself to say something is finished. Yes, there will always be room for improvement. (AARs show us that.) But, again for me, that needs to occur in the next tale. Publishing quality material on a regular basis is a must in my plan.

HANK: Do you have thoughts on the epidemic of illiteracy in our country in recent years?

PAUL: Mass media entertainment has contributed to this. People are simply turning their attention to forms of entertainment that only require passive participation. But I think the aforementioned war on normalcy from the entertainment industry have played a part in this too.

I don’t want to read any of the things that big publishers are producing. I suspect a lot of other people feel this way too. Add in the fact that so many people are now condemning American history and culture, and you have a society that actively is discouraging a lot of people to read. (A lot of fine literature is American. Beyond this, a lot of fine literature can be classified as being part of Western Civilization. And since our betters also condemn Western Civ as well as American culture and history, you have a lot of literature now that people are being told they shouldn’t read.)

Regardless, I spent a better part of a decade writing a lot of nonfiction opinion columns and articles on the decay of culture and society for some pretty well-known websites. That accomplished nothing. So I’ve abandoned that and now am focused on writing fiction instead of complaining. And that’s the best thing one can do when it comes to the state of literacy/illiteracy (or for anything for that matter): do instead of talk.

HANK: Sage advice, for sure.

I appreciate you taking the time for this dialog. Is there anything you’d like to add before we sign off?

PAUL: Buy my books and read my stories here at Virtual Pulp!

 

Again, I thank Paul for his patience and willingness to answer my questions so candidly. I’m thankful to have men like this out there fighting alongside me in the culture war.

Guerilla Authors of the Culture War: An Interview With Paul Hair Part 3

In Part One and Part Two, we’ve talked Christianity, books, and raising kids. In this part of the interview, Paul talks a little about the military and Judgment Day:

HANK: Tell a little about your experiences in Military Intelligence, why you chose that MOS and what effect, if any, it had on your worldview.

PAUL: Everyone (enlisted, at least; likely officers too) who joins the armed forces takes the ASVAB—the Armed Services Vocational Aptitude Battery. What you score on that determines what MOS—Military Occupational Specialties—you’ll be eligible to be considered for. I scored high enough on the ASVAB and there were enough military intelligence slots left for that fiscal year (which was just at the end of FY2004) that I grabbed an all-source intelligence analyst MOS.

I was old when I enlisted in the U.S. Army Reserve; late 20s. It was only a few years after the September 11, 2001 terrorist attacks on the U.S. During those three years between the attacks and when I enlisted, I had thought about where I was going in my life (which was nowhere, really). And I thought about all the people (including people much younger than me) who were serving—who were risking their lives and even dying on the battlefield. Those two separate thoughts converged and I concluded, “Why am I not part of the armed forces too?” Thus, I enlisted.

Mind you, joining the Armed Forces goes against pretty much everything that is natural to me. I like to sleep. Some people would describe me as an introvert (others would not). I was not a hard-charging-I-can-conquer-anything person. I’m not big on camping out. I had lived a fairly sedentary lifestyle during the decade or so prior to enlisting. I had not done much traveling prior to enlisting. I had never considered joining the Armed Forces prior to 9/11. And so forth. So that was a massive decision for me. It was life-changing.

As far as how being in military intelligence changed my worldview, I don’t know that that did specifically. It was an interesting and rewarding experience (just going through the arduous process of obtaining a top secret security clearance was an experience). But that didn’t necessarily affect my worldview. Being in the Army Reserve did, though.

Being in the Army Reserve exposed me to more types of people than I had ever had the chance to engage with over extended periods of time. It wasn’t that I didn’t know such people existed, but I didn’t know how to act—to react—to them. I used to think that if one behaved properly and did all that he could to get along with people, then harmony would ensue. I was wrong, of course. That was a learning experience—an unlearning of what society had taught me and still teaches. There will never be harmony on earth because that is not what mankind wants. It goes back to the sinful nature of man. So without going into a lengthy theological explanation for all that, suffice it to say I learned that sometimes you cannot get along with others, that you cannot control others and sometimes (particularly in the Army) you’re just going to have to accept that you will suffer the consequences for others’ bad behavior despite it having nothing to do with you, and that sometimes you just have to fight for what is right.

HANK: I’m glad you shared that. The Army taught me a lot about human nature, too. Also group dynamics. I imagine myself to be an armchair social anthropologist ever since my active duty.

There is no telling what kind of chain-of-command you’ll be dropped into in the military. At best it will be a benevolent dictatorship. At worst…well, a living nightmare that can crush hope more thoroughly than an American female. And speaking of that: how far had the feminist social experimentation gotten by the time you entered the Armed Forces?

PAUL: Interesting comments about chain-of-command. Very true. As far as the feminist social experimentation, it’s like the rest of society. PC controls the armed forces. There is no pushback nor can there be. For to push back against progressivism is to be “hateful” and “wrong.” And so feminism and progressivism advance without opposition.

My military experience also taught me that one should never expect justice, pretty much anywhere in this world. I spent eight years in the Army Reserve as at least half of my own nation backed our enemies in war. Not only have they succeeded in helping our enemies kill troops and defeat us in war, but they’ve been rewarded for it; have convinced others that the U.S. was the bad guy for going to war. There have been no consequences for them and there will be no consequences for them, either.

Working against America and/or to help her enemies is the path to success and prosperity in the 21st Century—whether that path is military, civilian, political, private sector, and even in the Church. Anybody who denies this is part of the problem.

I also learned a lot of humility from my military experience. When I graduated from high school, I thought I was smart—smarter than most. I gradually learned how wrong I was after that, with the capstone being going through Basic Combat Training and Advanced Individual Training. It’s not that I believe I’m stupid, but by the time I went through Initial Entry Training for the Army, I learned there were a lot of people who were either smarter than me in general, or smarter (and better) than me in all things military. You’re not really supposed to admit this. When you admit that you have flaws or aren’t the best at something people beat you over the head with it and use it to say something to the effect of, “See? Even he admits he’s incompetent!” This isn’t what I’m saying, of course. What I’m saying is that (again) my military experience affected my worldview by showing me that I had to rethink my beliefs about myself and others. Just as I learned to see the true negative aspects of others, I also learned to see the true positive aspects of others (and a lot of negative aspects of myself).

HANK: Ahh, humility. My best two-mile run ever was a 10:25…but that wasn’t even the best time in my platoon.

PAUL: I know what you mean. There are a lot of people with a lot of athletic ability. And many of them choose to do something other than professional sports. There are some exceptionally talented individuals in the Armed Forces.

So, to sum up how my military experience affected my worldview, it altered how I interacted with fellow human beings, altered how I perceived justice (the world is full of injustice), and altered how I view my fellow human beings. And it taught me a lot of humility.

HANK: Do you believe justice is even possible, at this stage, under human leadership?

PAUL: I don’t know. I certainly don’t expect to get it or witness it. So that either makes me an unwarranted cynic or I’m being realistic.

HANK: What is it that makes you tick, now?

PAUL: Judgment Day. As I get older, the day of my death inevitably grows nearer. So I am thinking a lot more about the day when I stand before God and He judges me.

This has made me reevaluate what it means to be a Christian. God sent His only Son Jesus to earth, born of the Virgin Mary as fully God and fully Man. He lived a sinless life, was crucified and died for our sins, and rose in the eternal defeat of said sin. He paid the price so we do not have to experience eternal damnation.

Christ’s death and resurrection is the only source of salvation. We cannot earn it. We have to have faith in His death and resurrection if we want salvation. Yet the Bible also says faith without works is dead. So I’ve been meditating on that a lot lately. What have I been doing in my life to show that I am a follower of Christ? Is my life showing that my faith is not dead?

So I think about that every day—pretty much all day. And when you consider that—when you consider that one day you will be judged to spend eternity in Heaven or eternity in Hell, pretty much everything else becomes meaningless.

Thus, many things that used to mean a lot to me no longer do.

HANK: You said a lot, right there. When we stand before the Creator of the Universe, we will not be judged by the ever-shifting goalposts of the world’s moral relativism, but by a righteous God who does not change. What we do in this life has eternal consequences, and only a fool stores his treasure where moth and rust destroy. When Jesus returns, I want to be busy doing my Father’s work

PAUL: Exactly.

HANK: How would you assess the entertainment industry in the current year; and fiction publishing in particular?

PAUL: If one is right-of-communist; right-of-satanic, the entertainment industry hates you. And anyone who pays a decent amount of attention to the entertainment industry should have this figured out by now. If one hasn’t figured it out, there is something wrong with him. And there’s nothing anyone will be able to do to change this fact.

This is not necessarily a depressing thing. Or, at least, it shouldn’t be. This is an opportunity for authors (like me!) to take advantage and to provide quality entertainment to a large group of people.

So as the fiction publishing industry ramps up its hatred of everyone who refuses to fully embrace evil, I’m not wasting my time complaining about it. I welcome it! I welcome the self-destruction and I am creating new tales for people to read and enjoy.

HANK: That is such a simple, and wise, strategy. I need to do the same, while we still have the ability to get anything published that does not conform to The Lie.

PAUL: That’s a good point. It really is a race against time.

HANK: Is there anything currently being published that you enjoy?

PAUL: No. And that goes back to what I wrote above. The publishing industry—book publishing, comic book publishing, and so forth—just hate my guts by way of hating what I believe. Why would I want to support them? Why would I want to fund them and thus fund their war on me?

Plus, I have plenty of better things to do.

HANK: I can’t argue with your logic, though I am always on the lookout for a good book that doesn’t sucker-punch me with the obligatory leftist messaging. And there is almost no escape from it. You can find books by a “conservative” (whatever that means) author, and you’re just as likely to wade through feminist and LGBT-pandering as you would have to when reading books written by their SJW competition. Read something by a “Christian” author—it will be seasoned with worldly rationalizations dressed up in spiritual semantics to scratch the itching ears of their Churchian audience. Find any author that rejects some aspect of The Narrative, and you will discover any number of other cultural Marxist messages sprinkled throughout.

I say “almost no escape from it” because Virtual Pulp authors are an exception. There might be other exceptions out there, and I’m always hoping to find some.

PAUL: That’s one of the things that drew me to Virtual Pulp. If we don’t become the innovators, no one else will.

TO BE CONTINUED…

Guerilla Authors of the Culture War: An Interview With Paul Hair Part 2

Last time, in Part 1, we covered Christian upbringing out in the country, and opined on a possible connection between morality and rural or urban locations. In the continuation of my interview with author Paul Hair, we talk Christianity, child rearing, and books worth reading.

Where I left off, I had just diagnosed Paul’s upbringing as “sheltered.” He disagreed, and went into some detail. We’ll pick up there:

PAUL: Public school exposed me to the world and worldly ways.

So I really didn’t experience culture shock when I hit the world…with one exception: professing Christians weren’t necessarily all that Christian outside of church (and this is what I meant when I mentioned my one major shock was sort of connected to Christianity). I continued realizing this throughout my 20s and even 30s. I think by my late 30s I fully realized that the people I worshiped next to in church weren’t necessarily the allies I thought they were. This isn’t to say I view fellow churchgoers askance; only that I do not assume that the person to my right and to my left believes what the Bible and God teach.

HANK: I’ve discovered through experience that most self-proclaimed Christians don’t study or believe the Bible. IOW, they don’t study or believe the teaching of Jesus. Therefore they don’t follow Christ, and therefore are not Christian. This is why I have begun calling them Churchians.

Of course, actual Christians will remember that we were warned a great apostasy was coming upon the Church. Message confirmed.

PAUL: In short, my upbringing was an advantage. It taught me the right way to live. So even when I chose the wrong thing as an adult, I always knew what the right thing was, which helped bring me back to the correct path.

As to if I would raise children the way my parents raised me: no—because it would be next-to-impossible to do so.

Our world is one where if your son declares he’s a girl you risk having the government take him away from you if you refuse to indulge that lie. Now imagine trying to raise a child in today’s world where you won’t allow him to listen to popular music, go to movie theaters, or watch disrespectful TV. Now throw in refusing him a cell phone and connectivity. On top of that, try spanking him or administering other types of corporal punishment.

How long until the government would take him away from me?

Perhaps the only place I would be able to try to raise children the way my parents raised me would be if I removed to some really remote place like Alaska, where even today the government would have a slightly harder than normal time accessing my children on a day-to-day basis. It might be possible to raise children like that without losing them. But even then it would be iffy.

That lifestyle is odd to the world; people view that as being a “Religious nut.” It wasn’t, of course. But, regrettably, I’ve let the world influence me too much instead of the other way around. I’ve lost a lot of those positive habits and practices, exchanging them for some worldly ones. That needs to be corrected.

But the only reason I know they need to be corrected is because of how my parents influenced me.

HANK: You just identified, in my opinion, a huge reason why the Church has become apostate: it has let the world influence it, rather than the Church influencing the world.

PAUL: Yes. And I don’t see much pushback on this.

Reading-wise (I didn’t forget about that part of the question), I read books that everyone knows (such as “The Hardy Boys,” The Island of the Blue Dolphin, Sounder, and so forth) and books that no one has heard of (such as “The Sugar Creek Gang” series of books).

My parents encouraged reading. Also, because my TV and video game time was limited, and because I didn’t listen to music or go to movies, that was a great thing to do when I was bored or when I needed a break from working and playing outside in the heat of summer or the bitter cold of winter.

School also provided me with an opportunity to read. That exposed me to Shakespeare, which I discovered I enjoyed. We read Beowulf, Chaucer, Austen, Dickens, and at least one of the Brontë sisters. Jane Eyre remains a book I enjoy. I also learned to like American literature. We read books such as Call of the Wild, Of Mice and Men, The Martian Chronicles, The Adventures of Huckleberry Finn, and so forth.

For the longest time, Huck Finn was my favorite book. But then, as an adult, when I realized that teachers and scholars liked it so much because it was “an indictment of America,” I lost a lot of respect for it. I lost even more respect for it when I discovered that Samuel Clemons was a less-than-decent guy. (Yes, I know, we’re not supposed to judge books by the authors’ lives. If we did that, we wouldn’t be able to enjoy any book. Nevertheless, I remain firm in my reassessment of Huck Finn for my stated reasons.)

HANK: I wonder how old you were when the revelation occurred to you about Huck Finn. I’m guessing that, in addition to all their other villainy, your parents also raised you to (gasp! The horror!) love your country?

PAUL: Probably older than I should’ve been. Definitely in my thirties and perhaps mid to late thirties. And, yes, my parents did instill in me that patriotism is valuable.

Your question doesn’t address which books I enjoy as an adult but I’m going to throw a few in here anyway. I read both Frankenstein and Dracula, and liked them. (Specifically, I initially read the Bantam Classic editions of them. I was introduced to Bantam Classics by way of high school because the books are cheap. I’ve come to love these old books—the introductions to them, highly politically biased as they are, the smell of them, the feel of them, and the way they read.) Neither of the books is like any filmed adaptation available. Both books are much better. I later read the Cliff’s Complete edition of Frankenstein. Teachers hate Cliff Notes for good reason. But as an adult, when you’re committed to reading the actual book and not just the notes, Cliff Notes are quite helpful. And when you find a book that you enjoy, reading the Cliff’s Complete version of that book is an exceptionally enjoyable experience. It provides a wealth of background information and insight that expands the reading experience.

If you’d ask me to name my favorite book right now, I don’t know what that would be. In the past year I read A Princess of Mars (Penguin Classics edition—another good series) and liked that. But I’d probably go with A Light in the Forest by Conrad Richter. It’s a novella written in the 1950s. It’s an easy read but also very literate. Exceptional ending that is tragic and yet very satisfying.

HANK: I’m glad you talked about your current reading proclivities despite my failure to bring it up. It sounds like you rather enjoy “literary” fiction as well as some genre work. By the way, I also quite enjoyed A Princess of Mars. If you are ever again in a mood for some classic pulpy sci-fi, you might want to check out Armageddon: 2019 AD by Philip Francis Nowlan. It’s the original Buck Rogers novel.

PAUL: Armageddon: 2419 AD. I think I heard of that before but I wouldn’t have remembered it if you hadn’t mentioned it. I did some quick internet research on it and apparently it and The Skylark of Space by E. E. Smith both debuted in August 1928 in Amazing Stories magazine. The Skylark of Space is said to have originated the space opera genre.

TO BE CONTINUED…

Guerilla Authors of the Culture War: An Interview With Paul Hair Part 1

The world of Indie Publishing is one of the only mediums in which self-identified Christians and right-leaning thinkers still have a voice and an opportunity to express their ideas. It’s the last outpost in the entertainment industry for ideological mavericks. However, these mavericks are committed to nothing as fanatically as they are to noble defeat.

They prefer to surrender rather than contend for their faith or conserve anything of value from our way of life. Their version of Christianity, for instance, believes that gender roles (assuming they still admit there are only two genders) should be the opposite of what the Bible teaches and what biology indicates. Were one of these typical mavericks to attempt explaining the concept of sin, they would likely list “homophobia” at the top of God’s list of unforgivable crimes. They disagree with the devil only by degrees–not in principle. They are most angered by Christians who fight; who rebel against the god of this world; who call out evildoers and hypocrites the way Jesus did; who don’t conform to the Terms and Conditions of Churchianity (as dictated by the enemies of Christ).

The “Christians” and “conservatives” who have the most clout, the loudest voices, and the best-defended platforms, are the most likely to cuck; the most likely to shrink in the face of evil; and the most likely to condemn those who don’t make the same compromises.

With allies like this, who needs enemies? But we have them, in spades, and their advantages are considerable. It can be very lonely when you refuse to bend your knee to Baal.

I’ve learned all this the hard way, via experience.

Virtual Pulp remains small because I’ve been very selective in who I allow to sport our brand. I used to dream of having a huge stable of authors, and enjoying literary success (to the extent it’s possible in the 21st Century); but it may be likely that there’s never more than a small handful of authors who want anything to do with me and my narrow-minded, puritanical vision. I piss people off and step on toes pretty much everywhere I go–not because I “can’t play nice with others;” but because I want to be part of the solution instead of part of the problem.

But solutions are sexist. And homophobic. And Islamaphobic. And, of course, racist/Nazi/white nationalist/blah blah blah fear blah blah blah hate.

Paul Hair joined the small team of bloggers at Virtual Pulp a while back after I failed to scare him away with my puritanical hateful hot hate, and I saw evidence that he doesn’t want to be part of the problem. He has contributed some articles and fiction here at VP that has added quality to the site. I’ve just finished an interview with him that covers a range of topics of interest to Virtual Pulp readers, and here is Part One:

 

HANK: Let’s start at the beginning: childhood, formative years…what were the most important influences on you, looking back? What did you like to read? Why did you like to read?

PAUL: I was born and raised in a rural life. Like any kid, I didn’t realize the full extent of my childhood until I was an adult. So I didn’t realize how rural my life was until I grew up. As a child, I knew I was “country,” but I didn’t realize how much so. For instance, I thought going to the Big City was going to a small city that was 15 miles away. (And it was something we rarely did, so much so that it was at times viewed as a vacation.) The city (then and now) doesn’t even have any true skyscrapers. It’s small geographically and by population too. Less than 50,000 people to this day, I believe.

On top of this, my family didn’t have any next-door neighbors. The closest neighbors were a tenth of a mile or so away. No neighbors across the road (just thick woods) and no neighbors behind us (a gigantic farmer’s field). And then there was a buffer of field and woods on both sides of the family property.

HANK: So you’re a country boy, like me. I didn’t appreciate my rustic upbringing at the time, but now I sure do.

There are exceptions to everything, of course, but I’ve noticed a definite correlation between stacking multitudes of people on top of each other, and moral implosion. It could be argued that talented people tend to be drawn to huge population centers (for whatever reason). It could also be argued that an individual is much more likely to be handed over to a reprobate mind after living in a city for a lengthy time period. Lot in Sodom (for all his failures) would qualify as an exception to this rule, but his wife and daughters were poster children for it. Have you noticed this same correlation? If so, why do you suppose it works this way?

PAUL: I would add the Tower of Babel and even the prophesied Babylon in addition to Sodom. As far as if I’ve noticed the correlation between urban areas and moral implosion…I’ll leave it at I’ve certainly been thinking about it a lot lately. I won’t say what I’ve concluded because I want urban and rural readers alike to purchase and read my books.

But so as to not entirely weasel out of the question (even as I go in a slightly different direction), I’ll say this: urban versus rural is an interesting topic, and definitely one that is very important to our times. It’s becoming increasingly relevant to political and cultural life. The Journalist-Democratic Party (which is now transparently communist) has taken over every institution of America. It runs everything in the nation. And this is particularly true in urban areas. That saturation of power in urban areas has become a focus for the communists, who are now frothing at the mouth about abolishing the Electoral College so that their urban centers can determine every future presidential election—so that they can prevent we “hicks” from ever having any say in anything significant in the nation again.

We’ll never see this change in our lifetime either. Urban areas are, by their nature, places where there will always be more government involvement. It’s inevitable. A larger amount of people means a larger amount of conflicts. And who do people expect to solve conflicts? Government. And when it comes to larger government, who is better at convincing people to put them in charge of it? Who is better at manipulating it to favor them and their agenda—better at manipulating it to crush their enemies? The communists or the GOP / conservatives—their ostensible opponents? The communists, of course. So the communists’ center of power in urban areas is only going to grow. As that occurs, of course, their power in the cities and nationally will grow. Big government is never going to go away. It literally can’t because of the nature of America in the 21st century. As soon as big cities became a thing, the country changed for good. Communists control it now. And it’s pretty easy to see where things go from here.

So urban versus rural is an important topic for contemporary times, and anyone who is interested in how things are going should be paying attention to it and thinking about it.

Conflict between American urban and rural has been brewing for a long time too. In the 1970s, there was the Rural Purge on TV. The powers that be (whether TV execs, advertisers, a combination of both, or other parties) wanted to get away from appealing to “ignorant country folk” in favor of urban viewers. Perhaps the conflict goes back even further.

(By the way, this conflict between urban and rural provides an opportunity for authors to explore it. How can the urban versus rural conflict factor into themes and motifs? Settings? Into entire plots? I can think of a few good ways to use it.)

I’ll conclude my answer on this subject by going back to where I started on it. I won’t answer on if I believe there is a correlation between moral implosion and urban areas because I want readers from both types of places. But I also don’t want to answer because I don’t want people who live in urban areas to think that they’d be better off in rural areas. One of the big reasons I like rural areas is because there are fewer people there, and if I convince people who reside in urban areas to move to rural areas, those rural areas cease to exist and instead become urban areas. So for all those who live in an urban area, I support you living there. I’ve lived in urban areas and I understand your reasons for doing so. I hope you’re happy and live a fruitful life. (And I write that with all sincerity.)

HANK: I lived in urban areas for many years, which is how I came to formulate my theory. I’m also thankful I had that anchor from a childhood spent mostly outside the high-population moral cesspools.

PAUL: I’m extremely happy I had this childhood, by the way. It’s something I look back on fondly. And it influenced me; helped shape who I became.

My parents were the single most influential people in my life. That is, I had a father and mother. Who were married to each other. And who had never been married to anyone else. Strange times, they were. But I digress. They influenced me by being certain that I was taught about God and the Gospel for my entire childhood. Again, I thought it was very normal during my childhood and even into my early adulthood. Now I know that’s not true. We went to Sunday school and church on Sundays (often listening to sermons by James Montgomery Boice during the car trip), had Sunday evening “house church,” went to Wednesday night services, prayed before meals and incorporated prayer into our lives, regularly read the Bible, read devotionals, and so forth. My father also worked at a Christian business. We weren’t allowed to swear, weren’t allowed to listen to secular music (until we were about 15 or 16), and weren’t allowed to watch crude or disrespectful TV shows. (They didn’t even allow us to watch much of “The Dukes of Hazzard” because of how it portrayed police—not cops—in a disrespectful manner.)

HANK: So this brings up something else I give a lot of thought. It sounds like you were sheltered—very sheltered, by non-Amish standards. (In fact, your parents might have been charged with child abuse in some jurisdictions for the care they took in raising you.) They eased up a bit in your teen years, but I’m guessing the culture shock was heavy when you did venture out on your own eventually. Was that youthful sheltering an advantage, or disadvantage, ultimately? In retrospect, would you prefer they had let you see reality in all its ugly horror at an earlier age, while using it as a perpetual teaching opportunity about right and wrong? Assuming you have kids of your own some day (if you don’t already), would you follow your parents’ model?

PAUL: I don’t necessarily believe I was sheltered. For one, going to church meant I knew about suffering and evil. It’s in the Bible. But the Great Commission also means that Christians go out into the world. And that’s often realized as missionaries. So I heard plenty of accounts of suffering and evil across the world by way of hearing the stories (firsthand or otherwise) of missionaries. There were also the stories of Christian converts with whom I ran across by way of attending church. My parents also had done mission work (youth work) on Long Island in the 1960s and early 1970s. I heard some of their stories. So I knew evil existed by way of being a Christian; I wasn’t shocked in that sense. There was only one major shock about the world that was sort of connected to my Christianity. More on that in a bit. First, though, here is another reason I don’t believe I was sheltered: I attended public school.

TO BE CONTINUED…

More Blood & Guts With Len Levinson

Last time I posted the first half of a Q & A with an unsung master of men’s fiction. Below is the rest of it, but first, just a brief 411 on the two war series we’re discussing:

The Sergeant was Master Sgt. C.J. Mahoney—a grizzled, brutal alpha male infantry soldier slaughtering Germans all over the ETO (in between many prose-porn encounters with nurses and French women–Mahoney was a master of “game”). His usual sidekick was Corporal Cranepool—a seemingly innocent country boy who went kill-crazy in combat. Battle scenes were brutal and almost always involved some bloody bayonet duels. The perspective often zoomed out to the field generals, to orient the reader as to the strategy behind why these battles took place. This was something I appreciated more as I grew older and re-read the books.

The Ratbastards was about a reconnaissance platoon in the Pacific Theater (PTO), led by another incredibly tough non-com, John Butsko. These guys were a rough, raw cross-section of America (Butsko sometimes called them “the worst bunch of f**kups I’ve ever seen!”) who expected no quarter from the Japanese and usually gave none. Their ranks included a cowboy, a stunt man, a former bank robber, a Los Angeles gang member, a full-blooded Apache, a rich blueblood, a hobo, a religious fanatic and a New York hustling wise guy. There was occasional sex when one of the guys got lucky with a nurse or native girl, but mostly there was a lot of dirty, bloody jungle combat…also with a lot of bayonet action.

 HANK: There’s another scene I already asked you about on an Amazon forum, but I’m repeating it here so my blog followers can see your answer: In Liberation of Paris, during a lull in the fighting, Mahoney goes inside a shop and does business with a Frenchman. He hears the sound of a typewriter behind a closed door and asks the proprietor about it, and is told pretty much to mind his own business. Mahoney lets the matter drop and goes off to kill more Germans, and the reader never finds out who is in that room. Mahoney actually met war correspondent Ernest Hemingway in an earlier scene, so I always wondered if that was the mystery typist. It was like some sort of in-joke that I was never let in on. So what gives?

LEN: The guy banging on the typewriter in THE LIBERATION OF PARIS was Jean-Paul Sartre himself, who had a conversation with Mahoney, but the editor at Bantam cut him out.  I don’t know why.  Perhaps they were worried about a lawsuit, or maybe they thought my readers might not know who Sartre was, although he was very famous in the day.

HANK: Bizarre. He cuts it out, but leaves in the reference to the typewriting noise. Well, I’m far from the first guy to be baffled by the choices made in traditional publishing.

In the same book, one of the German officers repeatedly gets phone calls from higher, and is asked, “Is Paris burning?” It happens so many times I remember that phrase jumping out at me. Years later in a public library I saw a soundtrack album for a movie (a musical, I think) called Is Paris Burning? I literally did a double-take. So I have to ask: did that movie influence you to include that dialog so intentionally?

LEN: According to my research, Hitler himself was constantly asking “Is Paris Burning?” – and the question was relayed to the German commanding officer in Paris, who didn’t want to destroy Paris.  A best-selling historical book was written about these events called IS PARIS BURNING?

HANK: Well that certainly makes sense, then. It’s an interesting historic tidbit you included in your story, and someone else built an entire story around the dilemma facing that German C.O.

(BTW, before Allied troops enter Paris, there is a see-saw tank battle between the French and Germans, in which the French commander uses German aggressiveness and his own country’s reputation to good effect. Sun Tzu would have been proud, but Mahoney, Cranepool and the other Americans detached for this “cushy” duty get caught right in the middle of the battling armor.)

After I began learning about grand strategy behind WWII, I appreciated all the scenes you included at staff-level and higher, rendering the macrocosm for the reader before zooming in on the tactical-level microcosms your main characters exist in. Especially pleasing is that you do this from the German and Japanese sides as well as the American. Seems like you did a lot more research on the European Theater…or maybe there was just less detail to go into in the island-hopping campaign?

LEN: A lot more info was available on the European Theater of Operations.

HANK: Speaking of research, Patton visits the Hammerheads in Slaughter City (and gives a memorable speech). Over at Post Modern Pulps, Jack Badelaire opined that you probably watched the movie Patton several times before writing it. I never made the connection myself, but then I haven’t read The Sergeant #6 in many years. And with the “is Paris burning?” deal, I’m now wondering if there’s some truth to that. Spill!

LEN: I saw PATTON two or three times, but was mostly influenced by Patton’s book:  WAR AS I KNEW IT and PATTON by Ladislas Farago as well as THE PATTON PAPERS edited by Martin Blumenson, and other histories of WWII and studies of Patton.  He was a great flawed hero and too bad he died in a freak accident.  He might’ve become President of the United States.  Naturally there are conspiracy theories about his death.

HANK: I once read a Patton biography by his grandson. He was definitely flawed but it’s also inspiring how he commanded the 3rd Army. One thing I like about the movie is that it implies he was one of the few Allied generals in the same league as the Mannsteins, Guderians, Rommels, Von Rundstedts, etc. (Perhaps an exaggeration, but he and MacArthur were the best we had IMO.) And if he hadn’t died in that ironic jeep accident, the conduct of the war in Korea probably would have frustrated him to death.

When I read Doom Platoon, I also read your story about meeting John Lennon, and it got me to thinking (dangerous, I know). As an armchair historian and anthropologist, I’m fascinated with the radical change in our country between the end of WWII and the escalation of our involvement in Vietnam (roughly 1946-1966, let’s say). I don’t mean technology, though certainly that played a part. I mean culturally and ideologically there seemed to be a sort of paradigm shift in the mainstream—especially the younger demographics. Plenty of people can pontificate why it happened, including me, but you actually lived through it. I’d like to get your reflections on it. Did you notice it happening? What did you think of it at the time?

LEN: I could write a 100,000 word book about this subject because you’re right, America has changed drastically and for the worse, in my opinion.  I lived through it and have many opinions which probably will be very unpopular.  I think it all began with the JFK assassination, when journalists and political hustlers cast doubts on the official explanation.  The cultural shift also was influenced by Jack Kerouac and the Beat Generation, which promoted rebellion against the status quo.  Another factor was Marxist-style ideas promoted incessantly by the media-academia complex, ideas which took deep root in America.  And then the Vietnam War came along, which was disliked by the media-academia complex.  They denounced every mistake by American soldiers and Marines while turning a blind eye to atrocities by the Viet Cong.  The American media-academia complex evidently opposes wars against left wing governments like Cuba and left wing terrorism in general.  For some reason, these high-minded reporters and professors also view jihadism in this context.  They’re very sympathetic to the grievances of suicide bombers, who want to kill us all.

Although America supposedly has a free press, it really is dominated by Marxist-oriented journalists and academics who establish the narrative believed by many people.

We are being brainwashed daily to believe that America is the cause of all the trouble in the world.  Many if not most Americans, including our President, believe this.

HANK: Wow. I’m surprised by how much we agree on. Thank-you for your candor. (I myself challenge the official explanation of the JFK assassination, but I also reject the most popular conspiracy theories regarding it.)

LEN: I should add that I think our military is being destroyed by political correctness.  Men and women shouldn’t serve together because it’s got to undermine combat effectiveness and cause all sorts of problems, which in fact is happening.  I also believe in don’t ask and don’t tell.  All soldiers understand the importance of morale, but political correctness is undermining morale.  I also think that our rules of engagement are ridiculous.  Recently I read THE OUTPOST by Jake Tapper, about an outpost in Afghanistan that was militarily indefensible, but set up to satisfy theories about how to win over the indigenous people.  But 400 of the indigenous people attacked the 50 Americans in the outpost, killed ten and wounded 18 until the rest could be evacuated.  This is the new Army that treats soldiers as social workers and targets for Islamist fanatics, instead of giving them the possibility of victory.

HANK: Wow again. Even more that we agree on. I could write an entire book about women in the military, for instance, but few people (on either side of the political spectrum) want to know the truth–they are comfortable with the amazon superninja myths reinforced daily in pop culture. And historical perspective on Don’t Ask Don’t Tell: it was a tool for the Clinton Administration to get around the law, and a transition to what we have now, where homosexuals have a priveleged status in the military (while there is a simultaneous, institutional rise in anti-Christian hostility).

I noticed you had a Private Levinson working at HHQ in some of the Ratbastard books. Of course I never noticed that back when I thought the author was John Mackie. So spill, Len: is this an author cameo?

LEN: Yes, I thought I’d do an Alfred Hitchcock routine, because he often appeared briefly in his movies.

HANK: And now Stan Lee is doing it in all the Marvel superhero movies—usually to nice comedic effect.

Just so you know, I haven’t yet mentioned it, or reviewed it, but my favorite out of both series (each with so many killer books) is Bloody Bastogne.

(Toward the beginning, an aggressive American commander sends his formation against the enemy at an ironic time, when the Germans are launching the Second Battle of the Ardennes. A rare simultaneous attack by opposing forces. Of course the Wermacht has amassed more oomph for the campaign on their side, and the weather neutralizes American air superiority, so the Germans make tremendous initial gains. Mahoney finds himself with the 101st Airborne surrounded by the Germans during the Bulge.)

You dramatize the famous “nuts” response by the Americans to the German demand for surrender. I never really believed that’s exactly what was said, and yet you presented the official story. My best guess is that the reply was actually, “Balls!” But then I doubt I know as much about WWII era slang as you do. Do you believe that ‘NUTS” was literally the message?

LEN: “Nuts” is the official version, but as I recall, some historians suspect that something else was said which perhaps was not appropriate for women and children to hear.

HANK: Same book, I believe: you also dramatized the incident in which the Nazis executed a group of American POWs (and Mahoney escapes). Mildly curious why you included this. Was it just to have Mahoney present for another famous incident in the war?

LEN: Yes, that was exactly the reason.

HANK: Still the same book (more of a comment than question): I just love the way you had Mahoney destroy the German fuel reserves. I thought it was brilliant.

LEN: Thanks for the compliment.  To tell you the truth, I don’t remember the scene.  Many years have passed since I wrote it.

HANK: In that case, forget I said anything. Now I can steal it some day and you’ll never be the wiser.

BTW, this interview is more about your books than about the business, but I’m curious what you had to go through to get your backlist released so you could sell them as e-books. Is it OK to enlighten us on that?

LEN: My literary agent Barbara Lowenstein handled the initial ebook deals.  I assume she contacted e-publishers and pitched all her clients including me.  I think that Piccadilly contacted me about THE SERGEANT and BUTLER and I referred them to Barbara.  Then I entered into an agreement with Piccadilly to publish six of my non-series novels, which all are selling very poorly, I’m sorry to say.

HANK: Do you have any idea when the remainder of The Sergeant series will be converted to ebook?

LEN: Piccadilly has contracted to release all of THE SERGEANT.  They’re releasing them one at a time according to their own schedule.  My impression is that THE SERGEANT isn’t selling well, so Picaddilly isn’t too anxious to continue publishing them regularly.

HANK: I’m very disappointed to hear your books are struggling.

In my father’s generation it was normal for red-blooded American males to read fiction. It wasn’t unheard of when I came along, but more rare than I guess I was aware of at the time. Then the big publishers kicked the mid-list authors to the curb in the late ’80s/early ’90s and what male readers remained were seduced away from the written word by video games and 400 cable channels.

I’ve actually given this a lot of thought because I assigned myself the Quixotic task of reviving men’s adventure, both by promoting good work in the genre (like yours) and writing some of my own. I still don’t want to swallow this pill, but it’s really looking like there’s no money to be made in old-school men’s fiction. There are few red-blooded American males left in our culture, it seems to me, and very few of them have an interest in reading. Some authors are making a go of it with niche sub-genres, but only those with the time and talent to build a platform of followers on the Internet.

It becomes a vicious circle and self-fulfilling prophecy: the gatekeepers of the New York Publishing Cartel (NYPC) decree that men don’t read, so they only publish “women’s issues” fiction. If a dude finds himself in a library or book store, all he sees is romance and chick-lit (and YA and gay/lesbian and vampires), decides that reading is for girls, and leaves to go buy a video game. Statisticians from the NYPC survey the visitors to libraries and book stores, find there are no men there, and their prejudice is reinforced and justified.

With the publishing revolution, some choices have finally been introduced by indie authors and small publishers.

But it’s now harder than ever to get noticed by a reader, since anybody with a word processor can be published (and is). There are mountains of literary garbage to wade through, and the video game-induced attention deficit among the male of the species doesn’t help. There are a lot of obstacles, despite the positive aspects of the technological game-changers.

LEN: I think there’s money to be made in action/adventure fiction, but not as much as in other genres such as women’s romances.  American publishing seems unable to adapt to the modern technological world, and is plagued by political correctness just like every other area of American life.

HANK: You said a mouthful there. I know it’s even worse in Hollywood and the news media, but for a non-PC author it’s one of the biggest problems and obstacles right now. I understand there’s a big upheaval in the science fiction trenches over political correctness—among the authors themselves.

Do you have any projects in the works now? (If so, please spill.)

LEN: Yes, I’m working on three novels:

1. A hard-boiled noir-type novel set in NYC in the mid-1990s.

2.   A mystery/romance set in NYC in 1861, first year of the Civil War.

3.  A romantic/tragicomedy set in NYC and Miami in 1984 and 1985, based on my first marriage and played for laughs.

I’m also working on a memoir of my three years as a caseworker with the NYC Administration for Children’s Services (1997-2000), an experience which disillusioned me concerning government efforts to help “the poor”, and which far exceeded any suspicions I had about government waste and inefficiency, as exemplified by the current VA scandals.

Each of these four books is in final editing stages.

HANK: There are more questions I’d love to ask, Len, but you’ve been patient with me already and I appreciate it very much. We live in exciting times, and one reason is because it’s becoming easier to find your action-packed tales of WWII.

I’m close to finishing the last couple books in the Ratbastards series also. After that, I look forward to starting on Len’s westerns, and I’ve already read a couple of his spy novels. Sooner or later I intend to review them all right here.

Interview With a Master of War Fiction: Len Levinson

It’s an honor to be able to post an e-mail interview I conducted with a legend in men’s adventure fiction, author Len Levinson.

First, a little background.

My love of reading really blossomed because of comic books, and I was superhero-crazy up until my early adolescence. I read some detective novels, historical fiction and sci-fi, but still liked comics best.

One summer I had to take a long car trip with grownups. Bored out of my mind, on one of the refueling stops I went inside the 7/11 and looked over the book rack. Something on the back cover blurb of one book caught me, and I bummed the money to buy it. The book was The Sergeant #4: The Liberation of Paris. It not only gave me something to do on the trip, it introduced me to men’s adventure fiction and the subject of World War Two. That book, and some other things happening at roughly the same period in my life, conspired to alter my course. I became a fan of men’s adventure, especially war fiction, and also became obsessed with WWII.

I picked up more books in the series whenever I found them, and gleaned used copies from second-hand book stores once they were out of print. I was one book shy of the entire series for a long time, but just within the last few years picked up The Sergeant #3: Bloody Bush, becoming the first one on my block to have every paperback in the series. I was still a fan once in the Army, and got a buddy hooked on the series, too.

The author name on the cover of those books was Gordon Davis. Due to my subsequent fascination with the Second World War I also discovered other men’s fiction set in that historical period, including a series by “John Mackie” called The Ratbastards. Barely even noticing author names in those years, I took the attributions at face value, though I sure did notice a similarity in the styles.

The Sergeant was Master Sgt. C.J. Mahoney—a grizzled, brutal alpha male infantry soldier slaughtering Germans all over the ETO (in between many prose-porn encounters with nurses and French women–Mahoney was a master of “game”). His usual sidekick was Corporal Cranepool—a seemingly innocent country boy who went kill-crazy in combat. Battle scenes were brutal and almost always involved some bloody bayonet duels. The perspective often zoomed out to the field generals, to orient the reader as to the strategy behind why these battles took place. This was something I appreciated more as I grew older and re-read the books.

The Ratbastards was about a reconnaissance platoon in the Pacific Theater (PTO), led by another incredibly tough non-com, John Butsko. These guys were a tough, raw cross-section of America (Butsko sometimes called them “the worst bunch of f—kups I’ve ever seen!”) who expected no quarter from the Japanese and usually gave none. Their ranks included a cowboy, a stunt man, a former bank robber, a Los Angeles gang member, a full-blooded Apache, a rich blueblood, a hobo, a religious fanatic and a New York hustling wise guy. There was occasional sex when one of the guys got lucky with a nurse or native girl, but mostly there was a lot of dirty, bloody jungle combat…also with a lot of bayonet action.

(I have most of the paperbacks in this series, though it was longer.)

My suspicions grew over the years that these two series were written by the same author. And eventually that proved to be the case. Furthermore, thanks to the Internet, I actually came into contact with this master of men’s fiction.

Len’s been very gracious in granting this Q&A to a fan of his work.

HANK: Having read your essay previously, I understand you wrote The Sergeant first, then The Ratbastards. And I’ve recently read your novella about the suicide platoon during the Battle of the Bulge. So being fairly well-versed in the war fiction of Len Levinson, my theory is that the NCO in Doom Platoon was your first attempt to fictionalize one of the non-coms you knew while in the Army. By the time you created Mahoney, I think you had a much more developed portrait of the character you wanted to star in your wartime adventures. I’m not going to say Butsko was yet another step up; nor do I think they are the same guy with different names fighting in different theaters. The more I read from both series, the more I see them as two different guys. Obviously there are similarities, but I can tell them apart easily, even if you were to cast them both in one story and refer to them by alias. If the two met, I’m not sure if they would kill each other or share a few rounds of drinks at the bar.

Tell me about these guys—were Mahoney and Butsko based on any specific men in particular, or were they amalgams of various war veterans you crossed paths with?

LEN: It’s difficult to say with certainty where characters come from, because writing fiction is a mystery or a “spooky art” according to Norman Mailer.  As far as I know, Mazursky in DOOM PLATOON, Mahoney in THE SERGEANT and Butsko in THE RAT BASTARDS were all similar and based on sergeants I met in the Army, but perhaps mostly based on an old friend named Mike Nichols, who was born and raised in NYC’s Hell’s Kitchen, served as a soldier in Europe during World War II, served five years in a federal penitentiary for drug smuggling, and was a very tough guy.  He exerted an enormous influence on me, for better or worse, because he definitely was no angel, but he died in 1993 and I still miss him very much.  He was a peculiar mixture of brutality and gentleness which somehow seeped into the characters of the above-mentioned three sergeants.  He also was one of the best conversationalists and storytellers I’ve ever met, and also introduced me to my first wife.

HANK: Now this is like finding buried treasure! First let me say that I really noticed this mixture of brutality and gentleness in Sgt. Butsko. He’s a bad mamma-jamma nobody in their right mind wants to cross. Yet I remember in Too Mean to Die I was prepared to read about a horrendous barroom brawl when he and a marine laid claim to the same stool, but he displays rare restraint and makes friends instead (later on he does take another marine apart, but only after being pushed too far). Then in Down and Dirty he is prepared to castrate Bannon for fooling around with a native girl, but suddenly shows almost paternal affection for him instead. Rather than striking me as out-of-character, it made Butsko all the more real to me…and perhaps more sympathetic than Mahoney.

But I’d like to know more about Mike Nichols. Was he raised Catholic like Mahoney? (I can certainly see Mahoney smuggling drugs, if forced out of the Army and other circumstances conspired.) I’m also wondering if the stories he told included any amorous exploits during wartime in Europe, and if that influenced your depiction of Mahoney’s prolific “alpha game.”

LEN: As near as I can recall, Mike was raised in Hell’s Kitchen by a single mother.  I don’t remember if she was divorced, or her husband deserted, or she was an unwed mother.  She was very left wing and so was Mike, who also was a militant atheist.  I often argued religion with him, because as mentioned earlier, I’m a mild-mannered religious fanatic, although perhaps not always so mild-mannered.  In the context of NYC, atheism was very common and I the oddball.
Mike was very attractive to women and had many love affairs before marrying Maggie Gethman, who became the first woman managing editor of FIELD AND STREAM magazine.  Mike looked sort of like that old time movie star Victor Mature combined with John Garfield.

Mike had been very influenced by Nietzche, and thought that conventional morality was bullshit.  He definitely had the criminal mentality mixed with generosity and occasional saintliness.  I should add that he deserted from his unit in WWII, became a black marketeer, was locked in a stockade and busted out.  I don’t know what kind of discharge he got.  After mustering out he went to Columbia University for a few years, hung out with Jack Kerouac, Allen Ginsberg and that crowd, and one of his many girlfriends was the real-life character on whom the fictional character Mardou was based in Kerouac’s THE SUBTERRANEANS.

Once Mike said to me:  “You’re the craziest person I never met in my life, but you seem  normal.”  I took this as a great compliment because he’d travelled extensively and had met many crazy people.  In fact, he was quite crazy himself.
Mazursky, Mahoney and Butsko all had elements of Mike, but weren’t totally based on him.  I created characters out of bits and pieces of various real people and invented a lot also.  Writing definitely is a spooky art because it’s difficult to pin down the source of everything.  Some of me is in those sergeants also, and probably in every other character I created.

HANK: Just a comment here about all your main characters I’ve encountered: I think it’s their fatalism that appeals so much to me. That’s what helped me relate to Brockman in Operation Perfida right away…but possibly why others may not like or understand him. When I think about it, probably all my own protagonists are fatalistic too. Just a hunch that maybe this was one of your friend’s attributes that you translated to the page?

LEN: Yes, Mike could be considered quite fatalistic and cynical.  But so can I.  Mike and I would insist we’re realistic, trying to live without illusions.  I should point out that Mike didn’t seem depressed or unhappy at all.  He was a true party animal, and he and his wife Maggie were constantly inviting me to parties at his apartment, or to parties in other people’s apartments.  Once he invited me to a party that lasted three days, but I was only there for around 10 hours.

HANK: There are differences in Bannon (a cowboy from Texas) and Cranepool (a farm boy from Iowa); chiefly, Bannon is not nearly as innocent to begin with…but there’s a whole lot of similarities, too. Did these two hatch from the same egg?

LEN: I don’t see Bannon and Cranepool as similar at all.  Cranepool was Mahoney’s sidekick but Bannon was no sidekick and had real leadership potential.

HANK: That is a good point. Bannon was certainly more mature, and was a capable leader. Cranepool was a natural follower who idolized Mahoney.
The Sergeant was usually a one man show, though occasionally Corporal Cranepool shared Mahoney’s spotlight. The Ratbastards (as the name suggests) was more like an ensemble. There was Homer Gladly, Sam Longtree, Frankie LaBarbara, the Reverend Billy Jones, Craig Delane, Shaw, Gomez… though Butsko and Bannon were certainly your “go-to” guys. What made you decide to change your approach to writing about the war between these two series in regards to number of continuing characters?

LEN: You’re right:  THE SERGEANT was mostly a one-man show while THE RAT BASTARDS was an ensemble effort.  After completing THE SERGEANT, I didn’t want to take the same approach with THE RAT BASTARDS, because that would be boring.  So I decided to develop more characters and have some fun with their interaction.  But Butsko was the main man.  But the way, I named him after an old college friend of mine named Butsko from Duquesne, Pennsylvania.

HANK: I can assure you that The Sergeant was FAR from boring. Every so often I go back and read them again, because each one was such a fun ride. But the interaction between the Ratbastards was certainly fun, as well. It’s authentic and hilarious at the same time.

LEN: No, I didn’t mean to say that I thought THE SERGEANT was boring.  I thought it might be boring for me to write another series centered around one sergeant.  So I threw in more characters and came up with THE RAT BASTARDS, which was enormously enjoyable to write.

HANK: Back to The Sergeant for a moment. Mahoney starts out on an OSS-type mission, detached from the Rangers in Death Train. In Hell Harbor he rejoins the Rangers, but for the bulk of the series he is a plain ol’ straight leg dogface. Did you always intend to have this “demotion” take place? If so, why? If not, what made you steer him in that direction?

LEN: I wrote THE SERGEANT for Walter Zacharius, president of Zebra Books, who’d been a Sergeant in WWII and participated in the liberation of Paris.  After I handed in the first SERGEANT, which was DEATH TRAIN, he asked me to come to his office, where he explained that most soldiers never went on missions behind enemy lines, and he wanted the series to be about ordinary front line soldiers.  So I followed orders and wrote about ordinary front line soldiers beginning with the second novel, HELL HARBOR.

HANK: As an old soldier myself now, I’m curious why you always have your GI characters fasten their grenades to their lapels. Was there no place on a GI’s web gear to keep grenades back in the WWII/Korea days?

LEN: When I was in the Army, web gear consisted of the same cartridge belts as WWII soldiers.  These web belts didn’t have special fittings for grenades, as I recall.  Fastening grenades to clothing or dropping them in pockets was probably the common practice.  I was in the Army 1954-1957 and never in combat.

HANK: I took the author names at face value when I was a kid, but even then I noticed that John Mackie and Gordon Davis sure described combat in very similar styles. I had never read anything like it. Maybe it’s nothing more than my own twisted psyche, but I consider you a genius at describing horrific carnage in a way that makes it sound rather fun. You’ve mentioned before your preoccupation with surviving a bayonet charge by the Red Chinese if you were sent to Korea—is that what got you started imagining such Technicolor bloodbaths?

LEN: Thanks for the compliment.  Perhaps I’m a warped genius but definitely not a full-blown genius.  Joe Kenney on the GLORIOUS TRASH blog called me a “trash genius”.  Since childhood, I’ve always had a very vivid imagination, perhaps because I often was alone reading comic books.  When I was in the Army, I regularly imagined bloody scenarios, and wondered how I’d respond to real combat.  Everything I am as a writer, and everything I’ve written, came from my peculiar imagination influenced by the real world.  I never could’ve been a sci-fi writer, although I’ve read and enjoyed sci-fi.

HANK: What comics did you read? (Batman and Spiderman were my favorites, but I liked a lot more than just those. And after reading my first Gordon Davis novel, I began buying Sgt. Rock.)

LEN: I was born in 1935 and started reading comic books when I was six years old in the first grade.  That was 1941, back in the so-called Golden Age of Comics.  My favorites were Batman, Captain Marvel, Superman, Green Lantern, the Flash, Submariner, The Heap, and a comic called, I think,  CRIME DOES NOT PAY, about lurid true crime stories concerning bloody murders and such.  I also loved a comic book series called PICTURE STORIES FROM THE BIBLE, which was the Old Testament, King James Version, as a series of comic books.

HANK: I’m finding that our childhoods were not terribly different, though we were separated by generations and geography.

The Reverend Billy Jones is a character who I didn’t like much at first. Seems to me that when you first began the Ratbastards series he was the typical religious-right stereotype (anti-Semitic bigot, etc.). But later on you allowed him to become more sympathetic, I thought. In Suicide River, Victor Yablonka (of the Recon Platoon) grudgingly accepts a Gideon Bible from Billy Jones, in a scene I found surprisingly touching. Yablonka puts it in his breast pocket and that Bible winds up stopping a bullet, saving his life. Then, when I finally completed my Sergeant collection with Bloody Bush, I read about the same thing happening to Mahoney. So you plagiarized yourself. First off, did you ever sue yourself over copyright infringement (and if so, who won)? Secondly, what was it about this idea you liked so much to use twice?

LEN: I wasn’t plagiarizing myself.  I was only reflecting reality.  During World Word II, true stories were told about Bibles stopping bullets, so I tossed a few of these incidents into my books, because evidently they actually happened, and as a mild-mannered religious fanatic, I kind of liked the idea.

HANK: Now that is fascinating. BTW, if you care to, I ‘d like to know just a little more about your religious fanatacism. For some reason I thought you were Jewish, but then outside the Hasidic it’s hard to think of any examples of Judaism that could be considered fanatic. Certainly this topic doesn’t have to be made public if you prefer not.

LEN: Both my parents were Jewish, born in the U.S.A.  My mother died when I was four.  My father never arranged for any Jewish education or Bar-Mitzvah, which made me very unusual among Jews.  I grew up in a Catholic and Protestant working-class neighborhood in New Bedford, Massachusetts.  Some Sundays I went to Catholic church with my Catholic friends.  Other Sundays I went to an Episcopalian church with my Episcopalian friends.  I never went to any synagogue.  My father had contempt for religion although he claimed to believe in a “supreme being”.  I was very influenced by the comic book series mentioned above, PICTURE STORIES FROM THE BIBLE.  Around 16 I fell under the influence of so-called “progressive” thinking and became an atheist.  Then I had a religious experience during an acid trip when I was around 28, which turned me into a mild-mannered religious fanatic.  I became interested in Eastern religions, converted to Roman Catholic in 1979, dropped out in 2006, and now practice my own religion which I call Transcendental Realism, an amalgamation of everything that seems true in all the religions I studied and practiced.

HANK: We are roughly halfway through the Q & A. I’m going to pinch it for now and come back with Part 2 next time, in which Len answers questions I have about specific scenes in these books, we discuss General George S. Patton, men’s fiction/action adventure, author cameos and some other cool stuff.