Tag Archives: Ellery Queen

Art Taylor’s “The Care and Feeding of Houseplants”


EQMM Mar/Apr 2013 with Art Taylor’s “The Care and Feeding of Houseplants”

An excerpt from Art Taylor’s interview in The Digest Enthusiast book four. When asked if he relied on existing knowledge or research for the background of his stories he said this about his story from the Mar/Apr 2013 issue of EQMM:

Art: For “The Care and Feeding of Houseplants,” however, I was in new territory. I know little about plants, and they regularly perish under my own care. But plants—and plants versus animals—seemed a necessary metaphorical element to the story I was working on, so I ended up reaching out to a botany professor here at George Mason University with some questions.

“Funny story there—partly a plot spoiler, I’m afraid. When I emailed her—this was back in 2007 or so, as I recall—I also asked about ricin, and she quickly responded that I should call instead of emailing. When I did get her on the phone, she told me that she’d worked at Quantico for a while and that our email exchange had probably already been flagged by the government because of that mention of ricin. I laughed at the time. Seriously? Like the government is checking through everyone’s emails? Again, this was around 2007, so . . . .”

Art Taylor’s A Drowning at Snow’s Cut



EQMM May 2011 with Taylor’s “A Drowning at Snow’s Cut”

An excerpt from Art Taylor’s interview from The Digest Enthusiast book four:


TDE: “Your stories often include a particular interest or experience like sailing, houseplants, prep school, etc. What influences these choices? Do you draw mostly on existing knowledge or research?”

AT: “Some of my fiction draws on my own background and experiences. “Rearview Mirror”—the opening of On the Road with Del & Louise—was inspired by a trip my wife and I took to New Mexico several years ago. Similarly, “A Drowning at Snow’s Cut” was based in part on a boat trip my father and I took down the North Carolina coast. “A Voice from the Past” centers on some hazing incidents very similar to the rat system at the boarding school I attended. All those are pretty heavily fictionalized beyond those core elements, of course, but building from that foundation has helped to fuel the imagination.”Incidentally, the cover of Ellery Queen’s Mystery Magazine with Art’s “Snow Cut” story, features a gallery of EQMM’s esteemed review team by Tom Roberts. From left to right: John Dickson Carr, Allen J. Hubin, Anthony Boucher, Jon L. Breen, and as

Incidentally, the cover of Ellery Queen’s Mystery Magazine with Art’s “Snow Cut” story, features a gallery of EQMM’s esteemed review team painted by Tom Roberts. From left to right: John Dickson Carr, Allen J. Hubin, Anthony Boucher, Jon L. Breen, and as conductor, Howard Haycraft. This issue marked the last regular installment of the review column “The Jury Box” by Jon L. Breen, who would hand the gavel to Steve Steinbock for June 2011.

Art Taylor’s “A Voice from the Past”

eqmm_8_2009EQMM Aug. 2009 included Art Taylor’s “A Voice from the Past,” which he spoke about in this excerpt from his interview in The Digest Enthusiast book four:

“I wrote about half of my story ‘A Voice from the Past’ and then put it aside for several years, not sure where to go next with it. When I returned to it with fresh eyes, I came up with ideas about the rest of the plot, what seemed suddenly not just right but maybe inevitable, given all the seeds I’d planted in the first half.”

Art’s “Parallel Play” from the Chesapeake Crimes: Storm Warming anthology, won the Agatha Award for Best Short Story in May 2017.

Newsstand staples


AHMM Mar/Apr 2017

There’s a small notice in the current issue of AHMM. It serves as both a page filler and a call to action, and it’s worth repeating:

Note to Our Readers:
If you have difficulty finding Alfred Hitchcock’s Mystery Magazine at your preferred retailer, we want to help. First, let the store manager know that you want the store to carry this magazine. Then send us a letter or postcard mentioning AHMM and giving us the full name and address of the store. Write to us at:
Dell Magazines, Dept. NS
6 Prowitt Street
Norwalk, CT 06855-1220

Use the above address for AHMM, Analog, Asimov’s and EQMM.

It works. I did it for Fate, which I couldn’t find at any retailer in Portland. Now Rich’s on 9th and Alder downtown carries it. What a kick to see the new issue on their racks.

For convenience, here’s a few more addresses:
Fantasy & Science Fiction
PO Box 3447
Hoboken, NJ 07030

Fate magazine 800-728-2730
PO Box 460
Lakeville, MN 55044

Nostalgia Digest (773) 769-6575
PO Box 25734
Chicago, IL 60625

Laughing masks when luck’s running good

The final story in the final Ellery Queen digest-sized collection of Dashiell Hammett shorts—Mercury Mystery #233 (1962)—is “When Luck’s Running Good.” The opening paragraph follows:

“A shriek, unmistakenly feminine, and throbbing with terror, pierced the fog. Phil Truax, hurrying up Washington Street, halted in the middle of a stride and became as motionless as the stone apartment buildings that flanked the street.”

Originally titled “Laughing Masks,” the story first appeared in Action Stories in November 1923 under Hammett’s Peter Collinson pseudonym.

(Image from Galactic Central.)

The dimple in the morgue

Originally titled “The Dimple” when it appeared in Saucy Stories, October 15, 1923, this short, short tale by Dashiell Hammett was retitled “In the Morgue” for Mercury Mystery #233, February 20, 1962. Here’s the opening from the latter:

“Walter Dowe took the last sheet of the manuscript from his typewriter with a satisfied sigh and leaned back in his chair, turning his face to the ceiling to ease the stiffened muscles of his neck. Then he looked at the clock: 3:15 A.M. He yawned, got to his feet, switched off the lights, and went down the hall to his bedroom.”

To introduce the story Ellery Queen informs readers, “A generation or so ago, when this story was first published, an author was not permitted to refer in print to a woman’s legs—they had to be called “limbs”. . .” Even in a magazine called Saucy Stories?!?!?

(Image from Mike Hubert’s Dashiell Hammett website.)

Top flight fiction

Black Mask, November 15, 1923

“The Second-Story Angel” by Dashiell Hammett first saw print in Black Mask, November 15, 1923. It was reprinted in Ellery Queen’s final digest-sized Hammett collection, Mercury Mystery #233, February 20, 1962. Here’s the opening line:

“Carter Brigham—Carter Webright Brigham in the tables of contents of various popular magazines—woke with a start, passing from unconsciousness into full awareness too suddenly to doubt that his sleep had been disturbed by something external.”

Image from Sean Levin and Win Scott Eckert’s Crossover Universe.

Dashiell Hammett’s Itchy

“Itchy” first appeared in Brief Stories January 1924. It was retitled “Itchy the Debonair” for the anthology “A Man Named Thin,” Mercury Mystery #233, edited by Ellery Queen, and published by Joseph W. Ferman. The story opens with the news report ripped from the front page of the evening edition:


“Shortly after the Bay City State Bank of Oakland opened its doors for business this morning, an unmasked bandit, locking officials and employees in the vault, fled with the contents of the money drawer.”

The Barber and His Wife

One of Dashiell Hammett’s earliest stories, “The Barber and His Wife,” written as Peter Collinson, first appeared in Brief Stories, December 1922. It was reprinted in Ellery Queen’s anthology, Mercury Mystery #233 in 1962.

Queen’s introduction to the story states, “An early and ‘unknown’ Hammett yarn in which the characters are once again a foreshadowing of the great ones to come . . .”

Here’s the opening paragraph: “Each morning at seven thirty the alarm clock on the table beside their bed awakened the Stemlers to perform their daily comedy—a comedy that varied from week to week in degree only.”

Tom Doody’s Sardonic Star

As Ellery Queen, Frederick Dannay, wrote in his 1962 introduction to “Wages of Crime” by Dashiell Hammett, in Mercury Mystery #233, “These early short stories were often ironic or sardonic studies of the people who make up the undercrust of American society—the little people who are not the kind and gentle folk of our more sentimental popular songs; the little people who, given wider scope and opportunity and a bit more luck if not brains, could easily emerge as the ‘brutal, grasping heels’ that came to life so vividly in Hammett’s larger canvases.”

Here’s the opening paragraph of the story: “‘Come along without any fuss and there won’t be trouble,’ said the tall man with the protruding lip.”

The story was originally titled “The Sardonic Star of Tom Doody” when it first ran in Brief Stories Feb. 1923 under the pseudonym Peter Collinson. (No image today, apparently it’s one that has eluded even Galactic Central.)