Killing Town
is the tenth Mike Hammer novel started by Mickey Spillane and completed by Max
Allan Collins. In Collins’ Introduction, “Meet Mike Hammer”, Killing Town’s genesis is explained.
It’s an early, perhaps the earliest, Mike Hammer story Spillane started—the
incomplete manuscript clocked in at 30 typed and single-spaced pages. The story
takes place before I, The Jury,
making it the first Mike Hammer novel, and a few elements we take for granted
when reading a Hammer story are missing. Velda is nowhere in the tale,
Manhattan is in Hammer’s rearview mirror, and Pat Chambers is nothing more than
a voice on the telephone.
When Hammer arrives in
Killington, Rhode Island, undercover and riding the rails as a hobo, he’s
greeted with a strip tease and a murder rap. The frame is for the rape and
murder of a young woman. The local constabulary, as foul smelling as the city’s
fish cannery, is pushing Hammer to the electric chair before he’s even seen a
judge. But when an alluring blonde, and the daughter of the fish cannery king,
springs him with a false alibi and a marriage proposal he’s left wondering what
happened and why.
Killing Town
opens, in solid Spillane style, with a flash and a bang and barely wavers from
beginning to end. Its trajectory fast and straight as a bullet, rifling Hammer from
jailbird and murderer to knight-errant, friend and protector. The mystery is
nicely controlled and the reader is as confused about what’s happening, and
more importantly why it’s happening, as Hammer. The foul and corrupt setting is
as beautifully hardboiled as the prose is stark and lively. An excellent
addition to the Hammer canon, and my favorite, of those I’ve read, completed posthumously
by Max Allan Collins.