The Mike Hammer Collection

The Girl Hunters answers the question of Hammer’s disappearance, literally—the detective, guilt-ridden for causing the seeming death of his partner-secretary, Velda, has been on a seven-year drunk, as evidenced by the famous first line: “They found me in the gutter.” Further, Spillane reveals that Hammer’s best friend, Captain Pat Chambers of homicide, is now his worst enemy, as Chambers too is revealed to have been in love with Velda. When word comes that Velda may be alive, Hammer the alcoholic goes cold turkey (well, beers don’t count, apparently) and soon is back on the mean streets.

But Spillane has a great time exploring his hero’s new frailties. This Hammer is weak and uncertain after having been out of the game for a long time, and must now coast on his old reputation—and Spillane seems almost puckishly aware of the parallel between himself and Hammer. Whether his religious conversion or the sex-and-sadism critical blasts were factors, it’s hard to say, but Spillane’s technique has changed—he is more sparing with the sex and violence, although both are present, used, as the writer liked to say, “as exclamation points.” The Girl Hunters signals a Hammer less likely to fire away with his .45 at the drop of a fedora, and shows a move to surprise endings that will often have Hammer tricking the bad guys into killing themselves so he doesn’t have to bear the direct guilt.

The body count is high, but Hammer himself isn’t responsible, although the vicious climatic fight with the Russian agent called The Dragon concludes with one of the most casually brutal acts Hammer ever perpetrated. With surprising ease, Spillane moves his fifties detective into the sixties, espionage substituting for the Mob and other more conventional villains. Hammer had fought “Commies” before (in One Lonely Night), but here he’s entered the world of his British offspring, James Bond. There’s a showbiz element connected to Spillane’s own celebrity, including the use of real-life columnist Hy Gardner, a rival and contemporary of Walter Winchell and Earl Wilson.

Spillane is at his best in The Girl Hunters, his storytelling fast-moving, consistently entertaining, and with crisp, tough dialogue and action that shocks when it comes, plus mood-setting descriptions that show off his gift for noir poetry. Spillane employs a surprising narrative technique, the absence of Velda from the story—she is the girl being hunted, but she does not appear.

Spillane saves her reappearance for The Snake, the eighth Mike Hammer and a direct sequel to The Girl Hunters. Readers should understand, however, that The Girl Hunters and The Snake were never intended to be one book, one continuous story, and are advised to keep in mind that three years separated the publication of the two. Those fresh from spending time with a drunk Mike Hammer who was struggling to get back to his old self will need a grain of salt, at least, to accept Hammer in The Snake—which begins perhaps an hour after The Girl Hunters ends. Improbably, Hammer is not only his old self again, but is accepted around Manhattan by his cronies as if he’d been away for seven weeks, not seven years.

Still, The Snake is a first-rate tough mystery, with Spillane abandoning espionage for more traditional Mob concerns. Hammer and Velda are instantly the team of old as they help a damsel in distress and wade into the murky waters of big-time politics. In some respects, this is as close to a “standard” Mike Hammer mystery as you’re likely to find. Had Spillane—like Stout, Christie, Gardner, and so many others—chosen to write dozens of Hammer novels rather than just a dozen (well, a baker’s dozen), The Snake might have been the template. Moving around Manhattan with ease, Hammer works his contacts among journalists and reestablishes a working relationship, if not quite his friendship, with Pat Chambers. Even Spillane’s old enemy Anthony Boucher praised the novel’s craft, calling it “certainly Mike Hammer’s best case.”

The ending is (as they used to say) a corker, although the ambiguous nature of what happens next—i.e., do Velda and Mike consummate their love?—remains unresolved, at least as far as Spillane was concerned. This piece of continuity bedeviled Spillane, who, post-Snake, went back and forth on whether Hammer and Velda were intimate.