Baby Moll by John Farris

John Farris was my generation's first literary rock star. When his novel Harrison High was published it quickly became controversial because of its honest depiction of life among American teenagers. This was 1959. America still believed that if teens weren't exactly like Ricky and David Nelson they certainly weren't like Elvis. Given the fact that many of these teens would be in the streets protesting the Viet Nam war only a few years later, you can see how badly books such as Pat Boone's Twixt twelve and Twenty misjudged them.

The paperback edition became a companion to Peyton Place, published a few years earlier, both Great Reads and both purveyors of unpopular truths.

Mr. Farris, now famous, was all of twenty-three when the book was published. But he was no beginner. Born in 1936 he could already claim the following novels in print:

* The Corpse Next Door (Graphic Books, 1956) (as John Farris)
* The Body on the Beach (Bouregy & Curl, 1957, hc) (as Steve Brackeen)
* Baby Moll (Crest, 1958, pb) (as Steve Brackeen)
* Danger in My Blood (Crest, 1958, pb) (as Steve Brackeen)

He was writing and publishing before he could legally buy beer.

Hard Case Crime has now given us a chance to look at some of Farris' early work with Baby Moll appearing this month. And fine work it is.

"Six years after quitting the Florida Mob, Peter Mallory is about to be dragged back in.

"Stalked by a vicious killer and losing his hold on power, Mallory’s old boss needs help—the kind of help only a man like Mallory can provide. But behind the walls of the fenced-in island compound he once called home, Mallory is about to find himself surrounded by beautiful women, by temptation, and by danger—and one wrong step could trigger a bloodbath."

If you have any doubt about Farris' writing skills open the book and read the first chapter. It is both lyrical and ominous, an unlikely combination in a paperback crime novel. This establishes the way Farris even then managed to take some of the familiar tropes of genre fiction and make them entirely his own.

The set-up itself is unique. Mallory called back to save the life of a boss he despises but a man he owes his life. The boss got him off the bottle.

The story, as it plays out, is also all Farris'. While parts of the first act brought Peter Rabe to mind Farris takes the gangster novel in a different direction. Given the relationship of the people on the island the book becomes almost Gothic in its entanglements and ambience.

Farris of course went on to write numerous bestsellers, a number of them staples of modern dark suspense and horror, but even here, early on, he was a cunning storyteller fascinated by the perplexity and perversity of the human soul.