The distinctive red and black covers of the Albatross Crime Club books from the 1930s will be relatively familiar to anyone with an interest in continental English language editions. I’ve written before about how they resulted from a partnership between Albatross and Collins, publisher of the Collins Crime Club in the UK.
The grey and green covers of the Albatross Mystery Club may be less familiar, partly just because there were far fewer of them, but they may also have been printed and sold in smaller quantities. Certainly some of them are now quite difficult to find, not helped by the fact that they were all issued from 1937 to 1939 in the last couple of years before the Second World War.
The distinction between Crime books and Mystery Books was a peculiarity of Collins. Books published in the Collins Crime Club series in the UK had to conform to certain criteria that defined what a crime story was. Books that didn’t qualify as crime, were published instead as ‘A Collins Mystery’. Since the Albatross Crime Club published only books that had appeared in the Collins Crime Club in the UK, they inherited the problem from Collins, although their answer to it was rather different.
For Collins, ‘The Collins Crime Club’ was a little bit more than just a marketing description. It was at least a mailing list and possibly a bit more than that, if not really a club in the traditional sense. There was no parallel organisation for mystery stories, so no corresponding Collins Mystery Club. For Albatross though, the Albatross Crime Club was purely a brand for marketing purposes. As far as I can tell, it didn’t even have a mailing list or any other pretence of club membership or organisation. So creating a parallel ‘Albatross Mystery Club’ was not at all difficult. All it required was a new logo and a new colour scheme for the books.
It still took them quite a long while to get round to it. The Albatross Crime Club was already four years old and had published some eighty titles before the first Albatross Mystery Club title appeared in 1937. By this point, Collins had also started their own paperback ‘White Circle’ series in the UK, initially only with Crime Club titles, but from January 1937 with a separate Mystery sub-series as well. So Albatross were playing catch-up.
The Albatross Mystery Club began with a run of nine titles numbered from 401 to 409 and dated 1937, while Albatross Crime Club titles continued to be published with numbers in the 100 series. But then in early 1938, all Crime Club titles started to be issued using numbers in the 400s and mixed in with Mystery Club titles. So 410 and 411 are Crime Club titles, then 412 is from the Mystery Club, all these three issued in May 1938. In May, June, July and August there was a consistent pattern of two Crime Club books and one Mystery Club in each month. Then from September 1938 to June 1939, one in each series appeared each month, before the Mystery Club titles came to an end. One Crime Club title a month continued to be published for another four months, before the war finally put an end to them.
So overall nine Mystery Club titles in 1937 then one a month for fourteen months in 1938/39, giving a grand total of 23 books in the grey and green livery of the club. The mix of authors is similar to those published in the White Circle Mystery sub-series in the 1930s, although David Hume is a bit more prominent and J.M. Walsh a bit less so. Hume has 5 of the 23 titles followed by Peter Cheyney with three. Interestingly the White Circle series in the UK didn’t publish its first Cheyney title until July 1939, after all three of these continental editions, although Cheyney went on to become the dominant author for Collins White Circle after the war.
The only books in the Albatross Mystery Club that have really achieved any lasting fame are the two Dorothy L. Sayers novels, both early Lord Peter Wimsey novels – ‘Whose Body?’ and ‘Unnatural Death’. Both had been first published in the UK more than ten years earlier, and were probably already seen as classics of the genre. Indeed later Sayers novels had already appeared in the Albatross main series with red crime branding, but these were books for which Collins did not hold the rights, so they came to Albatross by a different route and under a different policy.
When Albatross came briefly back after the war, there was no longer any role for the Mystery Club, or the Crime Club. Those 23 books represent the entire output of the Albatross Mystery Club.
There are lots of people who collect crime fiction and many who research it and blog about it. There seem to be rather fewer these days who are interested in westerns, and less is written about western fiction, but it certainly still has many devotees. Even gangster novels and other specialist genres are well collected. So I suppose there must also be people who collect romantic fiction and are passionately interested, if that’s the right word, in the genre. I’ve never met any of them though, and prices of romantic novels in vintage paperbacks remain generally very low, so I doubt there can be very many collectors around.
All of which means that despite the prominence of the general Collins White Circle series over a period of almost 25 years, its sub-series covering romantic fiction has attracted little attention.
It was in any case a bit of an afterthought to the White Circle series. The Crime Club novels had first appeared in 1936, followed later that same year by the launch of western novels, numbered from 101, and in January 1937 by a mystery sub-series numbered from 201. The name ‘White Circle’ for the overall series started to appear about July 1937, although the use of a large white circle as the title panel was a unifying element in the branding long before then. Each genre though had its own colour and its own standard cover design as well as its own block of numbers.
When three volumes of Galsworthy’s ‘Forsyte Saga’ appeared in February 1937, it was obvious from their appearance that they were intended to be part of the White Circle series, although they were unnumbered and not obviously part of any sub-series or genre. They were followed in April / May by a group of six romance novels, numbered from 304 to 309, and with the listing of other novels at the back now including the Forsyte Saga novels as numbers 301 to 303.
So the ‘300 series’ now seemed to be established as a slightly odd combination of Galsworthy and Romance. Three further Forsyte Saga novels appeared in August / September 1937, oddly again unnumbered, but quickly identified in other volumes as 310 to 312. Then more Romance novels in early 1938 with numbering from 313 and from this point on, the 300 series of numbers is essentially reserved for romantic fiction. A sort of turquoisy blue was established as the colour for the genre, and a stylish lady’s head as the distinctive symbol in the bottom right of the cover. The series was clearly aimed at women readers and although the image looks a little quaint and demure to modern eyes, it must have been an aspirational look at the time. At first it appeared only on the dustwrappers and the covers of the books themselves were left plain.
The authors of the early novels included Renee Shann, Pamela Wynne (a pseudonym of Winifred Mary Scott), Betty Trask and Henry de Vere Stacpoole, each with several novels in the series. None of the names mean much to me and I don’t think they’re much remembered, although I see Betty Trask’s name is still attached to a fiction prize for young authors. It’s described as being established from money left in her will by the ‘reclusive author of over 30 romance novels’.
The list gradually extended up to volume 330 by the end of 1939 and continued well into the war years, reaching volume 359 by March 1942. There was one interloper – volume 321 in August 1938, was a special film tie-in edition of ‘A Yank at Oxford’ by A.P. Garland in a specially illustrated cover, but mostly the books followed a fairly standard format. The lady’s head on the dustwrapper was altered at some point in 1939 (making her look slightly older and with a less prominent nose?), the ‘White Circle’ branding was introduced, and the words ‘A love story’ added to the cover.
At least one of the two Philip Hughes novels in 1940 / 41 appeared with an alternative purple cover featuring a head and shoulders portrait of the author (a format more consistent with the later ‘500 series’ of volumes), but otherwise there was little change. In line with the rest of the series and most other paperbacks, dustwrappers disappeared from about 1940 and from that point on the illustration was carried on the front cover of the book itself.
Romantic novels did not re-appear with the other sub-series after the war and it was not until 1950 that the series started again in a rather different format. From here on they are still branded ‘A White Circle Pocket novel’ but they have pictorial covers and as a result look very different from other books in the series. The Penguin hegemony that had imposed non-illustrated covers on the market for any paperbacks with up-market pretensions, for 15 years by this point, was now starting to break down. Collins must have felt it was worth breaking away from it for romance novels, although perhaps oddly, they stuck with non-illustrated covers on westerns and other genres for another nine years – almost as long as Penguin themselves did.
I wrote recently about the important distinction that Collins made between Crime stories and Mystery stories – important to them, that is. It had its origins in the exclusivity of the Collins Crime Club series, so when Collins launched a new series of Crime Club paperbacks in March 1936 – the series that eventually became the White Circle paperbacks – it was natural that to start with, it excluded ‘mystery’ stories.
But once a parallel series of western paperbacks was added a few months later in a similar format and also with a large white circle as the title panel on the front cover, it was perhaps inevitable that mystery stories would follow. The westerns started in August 1936 with numbering from 101, leaving the first 100 numbers for crime titles, and mystery stories launched in January 1937, starting from number 201.
Where the Crime Club titles had featured two mysterious figures in green and black, and the westerns were in yellow with a cowboy on a rearing horse, the mystery titles used purple and a policeman blowing a whistle as their design motif.
The back cover of the first six titles explained what the mystery classification meant: ‘While the Crime Club issues books based on a definite detective process, Collins’ famous series of Mystery Novels sponsor equally exciting books of a different kind – mainly Secret Service stories and thrillers of the type for which Edgar Wallace was famous. The Mystery Novels now published in this new pocket format have been selected from the most successful in this series.’
I still struggle to understand why, to take one example – ‘Unnatural death’ by Dorothy L. Sayers (published as one of those first six mystery titles), is not a Crime novel, or not considered as being ‘based on a definite detective process’, but it matters little. By the time the next batch of 6 mystery novels, numbered 207 to 212, appeared in September / October 1937, the White Circle name had been adopted for the overall series, with crime stories, westerns, mysteries and romances identified as sub-series, each with their own identity, but clearly part of a larger whole. The series continued with this structure for the next 20 years.
The pattern of issuing books in batches of six at a time gradually broke down, but new books continued to be added at a steady rate throughout 1938 and 1939, so that over 40 mystery titles had been published by the time war broke out in September 1939. That inevitably slowed things down a bit and by 1943, with the constraints of paper rationing, the overall series more or less ground to a halt. It effectively continued in a different form through the Collins series of Services Editions, but that’s another story.
Wartime restrictions also killed off the dustwrappers that had been used on the early volumes up to the end of 1939 – the first 45 volumes in the mystery series.
The main authors in those early years included J.M. Walsh / Stephen Maddock, David Hume, Arthur Mills, Sydney Horler and Edgar Wallace. Peter Cheyney, who came to dominate the list later on, made his first appearance in 1939 and gradually rose in prominence through the 1940s. So far as I can tell, none of the authors other than Dorothy L. Sayers are much read or much collected today, and again with the exception of Sayers, none of the individual titles have become anything resembling classics of the genre.
By 1943, just over 80 mystery titles had been published, numbered from 201 to 282, and a handful of further titles after the war took the numbering up to 300 by 1950. Numbers from 301 onwards had earlier been allocated to an odd mix of Galsworthy’s Forsyte Saga novels and romantic fiction, but a precedent for dealing with this had already been set by the crime sub-series. Numbers 98 and 99 had been followed by 100c, 101c etc,, so that 101c (crime) could be distinguished from 101 (western). On this basis, the mystery titles should have gone from 299 or 300 on to 301m, 302m etc. They did eventually adopt this format, but only from 308m, so that the numbers from 301 to 307 are used twice. There’s a more detailed look at some of the numbering peculiarities of the White Circle series on this link.
The post-war revival of the series didn’t really get going again until about 1950, but from then on around 10 mystery titles were added each year, reaching number 350m by 1955 and continuing up to a final 397m in 1959. However not all were entirely new, as several titles were re-issued under a new number. Throughout the final decade of the series, the list was dominated by two authors – Peter Cheyney and Edwy Searles Brooks, who wrote under the pseudonyms of Berkeley Gray and Victor Gunn. Cheyney was the undoubted star, and many of his books featured a special front cover with his image replacing the usual policeman. But Brooks was prolific too and between them these two authors accounted for around 60 of the approximately 100 titles published between 1950 and 1959.
The final book in the Mystery sub-series was ‘The lady is poison’ by Berkeley Gray, number 397m, published in August 1959 shortly before the end of the overall White Circle series. Over a period of almost 25 years it had included almost 200 ‘mystery’ books and certainly made its mark as a leader in this area.
Many of the books I write about on this blog are so little known, little researched and little collected, that I can be reasonably confident that anything I write adds to the stock of recorded knowledge. That’s why I do it. No doubt I occasionally get things wrong, but the risk of being contradicted is fairly low. The bigger risk is of not being contradicted and errors surviving uncorrected.
Some other books, like Penguins, are so well researched that I can draw on the existing stock of knowledge, while trying to find an angle that adds something new.
The Canadian editions of Collins White Circle fall somewhere inbetween. As far as I can tell they’re not collected or researched by very many people, but there are certainly a few people who are far more knowledgeable than I am about them. For a comprehensive listing and identification guide, see the Wollamshram World website, or for various blog posts, see the Canadian fly-by-night blog. I can’t add much to that wealth of knowledge, but I want to put the Canadian editions into the context of the Collins White Circle editions in the UK and other countries.
The White Circle series was launched in the UK in 1936, replacing previous Collins paperback series with a new format much more similar to Penguin Books, whose own launch a few months earlier had so disrupted the UK paperback market. All the books in the UK featured a large white circle on the cover as the title panel right from the start, and this served as the unifying feature of the designs used for the various sub-series. However the White Circle name for the series only started to be used in early 1938.
The initiative to move overseas arose from the wartime conditions in Britain and the introduction of paper rationing. Exporting books from the UK no longer made any sense, so setting up local publishing operations suddenly seemed the way forward. Penguin started publishing in the US, Australia, New Zealand and Egypt, Collins in Australia, New Zealand, India and Ceylon as well as in Canada. All of these ventures started around 1942.
White Circle editions from Australia and India
In all these cases, the British publishers started off with what had become the market norm in the UK since the Penguin launch – standard designed covers with a strong series identity and no cover illustration. In Australia, New Zealand, India and Ceylon they were more or less able to impose this format, but neither Penguin in the US, nor Collins in Canada could make it work. The North American tradition of garishly illustrated covers was too strong and both companies eventually had to fall into line.
The first 50 titles for Collins White Circle in Canada, issued up until the end of 1942, were in a UK style format with standard designed covers. Oddly the design didn’t feature a white circle, other than a very small circle for the Crime Club logo. If anything it was more like the design used by Penguin in the UK, with large horizontal blocks of colour, although not I think as well designed.
The vast majority of the early books were either Crime or Mystery novels, all with the main cover panel in green and no real distinction between the two other than the small logo. A handful of western titles were distinguished by a lighter green and blue cover, and general fiction / non-fiction titles had covers in orange.
By the beginning of 1943 though, Collins had concluded that standard designed covers could not work in the Canadian market in competition with the brightly illustrated covers of local and American paperbacks. Like Penguin in the US at much the same time, they switched to illustrated covers, at first dipping their toe in, with restrained, stylised cover illustrations. By the end of the war though, the covers were becoming noticeably brighter, usually featuring pictures of girls, often in various states of undress or submission. And any evidence of white circles on the cover seemed to become even less prominent.
Editions from 1942 and 1946
The type of book was changing too. The proportion of crime and mystery books was falling and in the post-war period there were more westerns and more romances. There was a sprinkling of American authors, particularly of course for the westerns, and the occasional Canadian author, like Roderick Haig-Brown, but still most books were by British authors. It looks as if books were almost entirely chosen from what the British parent had available, rather than being sourced locally. Two books by Canadian broadcaster Kate Aitken – a cook book and a book on beauty for women, were a rare exception.
The series continued through to 1952 before Collins called it a day. Canada could no longer be treated as a market that would naturally take what British publishers had to offer. Over a period of just over 10 years though, from 1942 to 1952, the series ran to well over 500 titles. By my count that’s about the same as the number of titles published in the main UK series up to that point (excluding Services Editions). In the end there were more UK editions, but only because the UK series continued for another 7 years, through to 1959.
It also seems to me that today there are more second-hand Canadian editions for sale than British editions, raising the possibility that print runs may actually have been higher in Canada than in the UK. Far from being the junior partner in the arrangement, the Canadian business may actually have been stronger than the UK.
What is a mystery story? Wikipedia defines mystery fiction as a genre usually involving a mysterious death or a crime to be solved. That seems clear enough. To take one example, ‘The girl on the train’ by Paula Hawkins, which I’m reading at the moment, is surely a mystery story. Certainly it has a mysterious death at its core and the author tries constantly to keep the reader guessing about what’s really going on.
On the other hand, you won’t find the word ‘mystery’ in the description of the book on its covers. It’s described as the author’s first thriller. Comments from reviewers describe it as ‘crime fiction’ or ‘noir’. Do authors or publishers still use the term ‘mystery story’ much, or make any distinction between a crime novel and a mystery novel, or between a thriller and a mystery story.
For Collins, long-time publisher of the Collins Crime Club, there certainly used to be a distinction. Crime novels were published in the Collins Crime Club, and in the ‘Golden Age’ of detective fiction there were various written and unwritten rules about what constituted a crime or detective novel. Other stories that we might think of today as crime novels, were published as ‘A Collins Mystery’. Did they meet some parallel definition of what a mystery story was, or were they just crime stories that didn’t meet the Crime Club rules?
The distinction was carried across to the Collins White Circle series of paperbacks, which contained separate sub-series for crime novels and mystery novels, each with their own distinctive covers. Crime was green and black with two mysterious figures, while mysteries were purple or magenta with a policemen in a helmet. On the face of it, the other way round might have been more appropriate?
Collins also provided most of the crime and mystery books for the Continental European Albatross series, and again kept them separate – Albatross Crime Club books in red and black, Albatross Mystery Club in grey and green.
For the most part, writers were assigned to one or other category. Agatha Christie for instance was a crime story writer, almost by definition. But there was still at least one of her books, ‘Parker Pyne investigates’, that was originally categorised as a mystery story, with its author described as an ‘unrivalled writer of mysteries’. It’s a collection of short stories that are more about romantic problems and the theft of jewels than the solving of murders, so it’s perhaps not too difficult to see why it might have been put into a different category. It was nevertheless reissued in the Collins Crime Club many years later.
Dorothy L. Sayers, on the other hand and for reasons that are not obvious to me, was categorised by Collins as a mystery writer. Three of her Lord Peter Wimsey stories were published in the White Circle mystery series, with two of them also appearing in Albatross Mystery Club editions.
Just to confuse things even more, Albatross also published three of the later Wimsey novels in red crime branding. These had not been published by Collins and the distinction is probably more to do with the publisher than anything in the nature of the stories themselves. ‘Busman’s honeymoon’, the last of the series, was originally described as ‘a love story with detective interruptions’, so perhaps could have been categorised, neither as crime or mystery, but as romance!
Edgar Wallace was another writer that Collins assigned to the mystery genre, although his main publisher, Hodder and Stoughton, had firmly categorised him as a writer of thrillers. ‘It is impossible not to be thrilled by Edgar Wallace’ went the tagline on many of his books.
Other writers with several books published in the mystery series included Peter Cheyney, J.M. Walsh / Stephen Maddock and David Hume. Stephen Maddock was a pseudonym for Walsh, with books under both names classified as mysteries. David Hume however was a pseudonym for J.V. Turner, whose books under his own name were classified as crime. I suspect that most people who remember these writers today would consider them all to be writers of crime novels, or perhaps thrillers.
As far as I can tell, the distinction between crime and mystery stories was specific to Collins, and not adopted by other publishers. Certainly Penguin made no distinction between them. Their iconic green banded covers were from early on described as ‘Mystery and Crime’ books, although the use of both words suggests they did recognise that they might not mean the same thing.
Crime author Cecil Street wrote around 150 crime novels, mostly under the pseudonyms of John Rhode and Miles Burton, between about 1925 and 1960. He was writing in the Golden Age of crime fiction and most of his books were published by the leading crime publisher of the time, the Collins Crime Club. That put him in distinguished company, appearing alongside Agatha Christie and a host of other leading crime writers.
Street’s books are still widely collected today, with some of them still in print. But it’s probably fair to say that his critical reputation has not survived as well as some of his contemporaries. Julian Symons, in his history of crime writing, categorised Street as one of the ‘humdrum’ writers, producing stories that were professionally crafted, but almost more like crossword puzzles than literature. A more recent book by Curtis Evans, ‘Masters of the Humdrum mystery’, tries to redress the balance and restore a bit of his battered reputation.
But his books were certainly popular in their time, and at the time of the Second World War they were exactly the kind of book that was wanted for the Services. As Collins produced a long series of paperback Services Editions including many of their Crime Club titles, Rhode and Burton titles inevitably featured strongly.
The series started in 1943 with numbering starting from c201, although numbers were only given retrospectively to the first 16 titles. So the 17th volume, ‘Murder at Lilac Cottage’ by John Rhode was possibly the first one to actually carry a series number, c217. I can’t be sure, as I’ve never seen this in first printing, which would be dated 1943. The only copies I’ve seen, all say ‘Services Edition 1946’ in the printing history, with no mention of the earlier printing. I live in hope of coming across an edition that says ‘Services Edition 1943’ one day. That would also be the paperback 1st printing as it appeared as a standard White Circle paperback only in March 1944.
Two more Street novels were issued in early 1944 – ‘Murder M.D.’ by Miles Burton as volume c248 and ‘Men die at Cyprus Lodge’ by John Rhode as c251. Both also exist as reprints dated 1946, with no indication of the earlier printing, but first printings should say ‘Services Edition 1944’. Inevitably, most of the copies that survive are the later 1946 printing, and first printings are scarce. Again the first printing Services Editions are also the first paperback printings. In fact so far as I know that’s the case for all the Rhode / Burton editions. They were all novels that had been first published in hardback only a year or two earlier, and had not previously appeared in paperback. It was often several years later before paperback editions appeared for non-Services customers.
The two 1944 editions were followed by six in 1945, and so far as I know, none of these were reprinted, so all copies say ‘Services Edition 1945’. ‘Four ply yarn’ by Miles Burton and ‘Death invades the meeting’ by John Rhode appeared early in the year as c291 and c292, then ‘Dead stop’ by Burton as c304, and two John Rhodes – ‘Dead on the track’ and ‘Night exercise’ as c311 and c312. ‘Night exercise’ was the only one of the Rhode Services Editions not to feature Dr. Priestley as the detective. A final Miles Burton novel, ‘The three corpse trick’ was published at the end of 1945 as c348.
Overall then nine of Street’s novels appeared in the series, more than those of any other crime writer. Even Agatha Christie only had eight.
As India celebrates the 70th anniversary of its independence, here’s a short look back at one little known aspect of those last pre-independence days – its Wild West paperbacks. I’ve written before about the Collins paperbacks published in India during the war and in the years immediately afterwards. They’re now generally very difficult to find, although I’m not sure there’s anybody other than myself searching for them. But if most of them are difficult to find, the Wild West paperbacks seem to be almost impossible.
Judging by the lists of titles in the other books I have, Collins published over 40 westerns in paperback in India in the 1940s, most of them as White Circle paperbacks and a few in their general series. There seem to have been a further 12 westerns in the series of Services Editions, printed specially for the British forces in India and SEAC, and at least three more published by Collins in what was then Ceylon, now Sri Lanka. That’s over 50 different books, that would have been printed in large quantities – I’d have thought at least 10,000 copies of each book and possibly several times as many. In total surely at least half a million books. Yet in thirty years or so of searching, I had never seen a single copy of any of them.
There are reasons of course. They were printed on poor quality paper and seen as disposable items. Many would have been sold to British expatriates or British troops in India and would not have been thought worth transporting home. The westerns may have survived less well than the crime stories and other novels, because they were more avidly read and passed around, or perhaps because they were seen as more disposable. And even if copies have survived in India, they’re inevitably difficult to track down from Britain now. Perhaps one day I’ll be able to search for them on the ground and find they’re not as rare as I think.
But this week I finally found one. It’s in appalling condition, worn and dirty with the front cover missing and the spine disintegrating. Even at £5, including postage, it was hardly a bargain. But it’s the first Indian Wild West paperback from Collins that I have ever seen. A small piece of history has been preserved.
Not a pretty sight, but possibly unique
And it follows an earlier success, just over a year ago, in finding a western paperback from Ceylon, this one in much better condition. So the search is not impossible after all. There are westerns out there waiting to be found. I’d love to hear of others.
By the time war broke out in 1939, the Collins White Circle series was well established as a serious competitor to Penguin, particularly in the area of genre fiction – crime, mystery, westerns and romantic novels. The Crime Club section of the series had published around 80 titles and the Westerns were up to 30 or more. Titles continued to be added throughout 1940 and 1941, but gradually paper rationing started to bite. Books had to meet the War Economy standard and the flow of new titles slowed to a trickle.
A paper quota was available though for the paperback Services Editions, and this was one area where Penguin had got it wrong, launching the misconceived ‘Forces Book Club’ and then withdrawing from the market. It was an opportunity for Collins to make an impression, and their product was in some ways ideal for it. Romantic fiction was not going to work, for what were then almost exclusively male armed forces, but the other categories in their White Circle series could carry straight across. Crime novels and Westerns were just what the Services wanted.
White Circle Westerns in standard format and in Services Edition
Over the period from 1943 to 1946 the Collins series of Services Editions published 164 titles, including at least 33 Westerns, and probably 36. I don’t know exactly how many because I have no idea of the titles of the books numbered c327, c328 and c330. If anyone does know, or even better has a copy of any of these books, I’d be delighted to hear from them. The other books with similar numbers are Westerns, so it seems likely that these are too, but I can’t be sure.
Certainly the series started with eight Westerns in the first sixteen titles. See my post on the early Collins Services Editions for more detail. It’s enough for now to say that those first eight Westerns have almost disappeared without trace. In over 25 years of searching for them, I have found only one in first printing and two others in reprints.
The next batch through to the end of 1944 is not much better. I have found copies of just four of the twelve books, but I do at least know the titles of the others, although not their series numbers. Any evidence of the books below in Services Editions would be welcome.
|Curran, Tex||Riding fool|
|Dawson, Peter||Time to ride|
|Ermine, Will||Watchdog of Thunder River|
|Lee, Ranger||Red shirt|
|Lee, Ranger||The silver train|
|Robertson, F. C.||Rustlers on the loose|
|Robertson, F. C.||Kingdom for a horse|
|Short, Luke||Ride the man down|
That leaves a further thirteen, possibly sixteen, Westerns published in 1945 and 1946. I have copies of seven of them, some of which I’ve seen more than once, so I suppose they’re a little more common, which is what you’d expect, but they’re still frustratingly difficult to find.
That’s true of almost all Services Editions, but Westerns do seem to be particularly rare. It’s true for the smaller number of Westerns in the Guild Books series of Services Editions as well. I’m pretty sure that the Westerns were printed in at least as large quantities as other titles, but they seem to have survived less well. I can only assume that’s because they had more use, they were read more avidly and more often, passed around more or borrowed more often from unit libraries. Services Editions were printed on poor quality paper, and often stored and read in battlefield conditions, and in hot damp climates, so they wouldn’t survive repeated use for long.
Or possibly Westerns were just seen as more disposable, and have continued to be seen in that way. When service libraries were being cleared out, were Westerns more likely to be thrown away? If they survived that clear-out and were accepted into somebody’s home, were they still more likely to end up in the bin than other types of fiction? If they got as far as a second-hand bookshop, would bookdealers have considered them worthy of a place on the shelf? Or would they have ended up in a box in a dark corner or have been consigned to a cellar to moulder and die?
Most of the Westerns in the series were written under pseudonyms, and around a third of the books came from a single author, Charles Horace Snow. He contributed books under three different names – four books as Ranger Lee, four as Gary Marshall and three as Wade Smith. Another eight books came from two brothers – four by Frederick Glidden under the name of Luke Short, and four by his brother Jonathan under the name of Peter Dawson.
I don’t think any of them are much read now. Westerns were enormously popular in wartime and in the postwar years, but interest in them seems to have gone down and down. Finding copies of these books, or even any information about them, is a race against time.
The launch of Penguin in July 1935 changed many things in British paperbacks. Most of their design innovations were copied from the continental publisher Albatross, but other publishers quickly copied them from Penguin and in just a few years they became the standard market practice.
One of these changes was the use of colour to signify the genre of the book. For Penguin, orange meant fiction and crime was green. These two became the dominant colours in the Penguin series, although there was also blue for biography, cerise for travel, red for drama and so on.
For Albatross though, green had meant travel, and they had used red for crime, both in the main series and in the Albatross Crime Club series, which had distinctive red and black covers. Was red a more appropriate colour for crime? On the other hand Collins had already issued Crime Club paperbacks in the UK, predominantly in green, so perhaps it was the more natural choice in the UK.
Pre-Penguin crime paperbacks in the UK were often green
But for Albatross in continental Europe, crime was always red
When it became clear that Penguin’s experiment was a success, others rushed to follow, including of course Collins, who relaunched their Crime Club paperbacks in 1936 in a Penguin style format, with no cover art. They naturally chose green, using a stylised illustration of two figures with knife and gun, later adding westerns in yellow and mysteries in purple.
Hutchinson had launched its rival Penguin-style series in October 1935, using a variety of colours, but no clear indication of genre. In June 1936 it added an associated crime series under the ‘Crime Book Society’ brand, and again used a range of colours.
Early Crime Book Society titles used all sorts of colours
But their distinctiveness didn’t last for long. Within a year or so they too had accepted that crime meant green. From about September 1937 onwards, all Crime Book Society paperbacks appeared in green covers. They were soon followed by two other imprints, both related to the Hutchinson Group, the Jackdaw Crime series and the Crime Novel Library. Both series used only green covers and the convention now seemed to be well established – green means crime.
New Zealand is a stunningly beautiful and successful country with much to celebrate in its own right, but seen from much of the rest of the world its fate is often to be considered as an add-on to Australia, a mere 1000 miles away. Travellers plan a trip to Australia, and think about whether they can visit New Zealand on the way home. Politicians talk to the Australian Prime Minister and wonder if they should contact the guy from New Zealand as well – if only they could remember his, or her, name. Businesses set up in Australia and then think about whether to add on a New Zealand branch. Publishers issue Australian Editions – and wonder if they should think about New Zealand.
It’s far from alone in this. Scotland has long suffered from being seen as an afterthought to England, and the Australia / New Zealand relationship parallels the England / Scotland one in very human terms as well. There are still a lot of New Zealanders of Scottish descent, and a lot of Australians with English heritage. So the Scottish publisher Collins had good reason to remember New Zealand, when it started to issue Australian editions during the Second World War.
The move by British publishers to print local editions in their former export markets was driven by the introduction of paper rationing in Britain. It no longer made any sense to print books in Britain and send them on a long and hazardous journey around the world. So Collins started to print its White Circle paperbacks locally in Canada, in India, in Ceylon (India’s New Zealand?), in Australia … and of course in New Zealand. Canada, India and Australia got long series and a wide choice of titles. Ceylon and New Zealand had to settle for just a handful of different titles.
I’m sure that today book-buyers in New Zealand have just as wide a choice as those in Australia. But back in the 1940s their choice may have been severely restricted. Presumably the logic for issuing only a few titles was that they needed a long print run to keep the price down and the only way to sell a long print run in a small market was to restrict the choice. Penguin did much the same, publishing a long series of books in Australia during the war and a much shorter series of titles in New Zealand.
So from Collins, New Zealand got a selection of titles that may have been as few as 6. There’s no record of what they published and there’s no advertising for other titles within the books themselves, so the only way of knowing what exists is to find them. John Loder’s pamphlet on the White Circle books in Australia lists 6 titles known to exist and I only have a copy of one of those.
It’s a Peter Cheyney novel, in an unusual Crime Club cover. Unusual because in the UK, Cheyney’s novels were not published in the Crime Club. They were considered Mystery novels, published in a separate Mystery series with its own cover style. That distinction, which seems to have been important in the UK, for reasons that I don’t understand, rather broke down outside the UK, and there are several examples in Australia too of books appearing in the ‘wrong’ cover style.
Otherwise the books look very like UK, or Australian, or Indian White Circle editions. Appropriately they were printed in Dunedin, a city named after the Gaelic name for Edinburgh, in another reminder of the historic links between Scotland and New Zealand.