Death Waits at Sundown

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Death Waits at Sundown Page 10

by L. Ron Hubbard


  Also in evidence of just where L.Ron Hubbard stood within his first two years on the American pulp circuit: By the spring of 1937, he was ensconced in Hollywood, adopting a Caribbean thriller for Columbia Pictures, remembered today as The Secret of Treasure Island. Comprising fifteen thirty-minute episodes, the L. Ron Hubbard screenplay led to the most profitable matinée serial in Hollywood history. In accord with Hollywood culture, he was thereafter continually called upon to rewrite/doctor scripts—most famously for long-time friend and fellow adventurer Clark Gable.

  The 1937 Secret of Treasure Island, a fifteen-episode serial adapted for the screen by L. Ron Hubbard from his novel, Murder at Pirate Castle.

  In the interim—and herein lies another distinctive chapter of the L.Ron Hubbard story—he continually worked to open Pulp Kingdom gates to up-and-coming authors. Or, for that matter, anyone who wished to write. It was a fairly unconventional stance, as markets were already thin and competition razor sharp. But the fact remains, it was an L.RonHubbard hallmark that he vehemently lobbied on behalf of young authors—regularly supplying instructional articles to trade journals, guest-lecturing to short story classes at George Washington University and Harvard, and even founding his own creative writing competition. It was established in 1940, dubbed the Golden Pen, and guaranteed winners both New York representation and publication in Argosy.

  But it was John W. Campbell Jr.’s Astounding Science Fiction that finally proved the most memorable LRH vehicle. While every fan of L.RonHubbard’s galactic epics undoubtedly knows the story, it nonetheless bears repeating: By late 1938, the pulp publishing magnate of Street & Smith was determined to revamp Astounding Science Fiction for broader readership. In particular, senior editorial director F. Orlin Tremaine called for stories with a stronger humanelement. When acting editor John W. Campbell balked, preferring his spaceship-driven tales, Tremaine enlisted Hubbard. Hubbard, in turn, replied with the genre’s first truly character-driven works, wherein heroes are pitted not against bug-eyed monsters but the mystery and majesty of deep space itself—and thus was launched the Golden Age of Science Fiction.

  The names alone are enough to quicken the pulse of any science fiction aficionado, including LRH friend and protégé, Robert Heinlein, Isaac Asimov, A. E. van Vogt and Ray Bradbury. Moreover, when coupled with LRH stories of fantasy, we further come to what’s rightly been described as the foundation of every modern tale of horror: L.RonHubbard’s immortal Fear. It was rightly proclaimed by Stephen King as one of the very few works togenuinely warrant that overworked term “classic”—as in: “This is a classic tale of creeping, surreal menace and horror....This is one of the really, really good ones.”

  L. Ron Hubbard, 1948, among fellow science fiction luminaries at the World Science Fiction Convention in Toronto.

  To accommodate the greater body of L. Ron Hubbard fantasies, Street & Smith inaugurated Unknown—a classic pulp if there ever was one, and wherein readers were soon thrilling to the likes of Typewriter in the Sky and Slaves of Sleep of which Frederik Pohl would declare: “There are bits and pieces from Ron’s work that became part of the language in ways that very few other writers managed.”

  And, indeed, at J. W. Campbell Jr.’s insistence, Ron was regularly drawing on themes from the Arabian Nights and so introducing readers to a world of genies, jinn, Aladdin and Sinbad—all of which, of course, continue to float through cultural mythology to this day.

  At least as influential in terms of post-apocalypse stories was L. Ron Hubbard’s 1940 Final Blackout. Generally acclaimed as the finest anti-war novel of the decade and among the ten best works of the genre ever authored—here, too, was a tale that would live on in ways few other writers imagined. Hence, the later Robert Heinlein verdict: “Final Blackout is as perfect a piece of science fiction as has ever been written.”

  Like many another who both lived and wrote American pulp adventure, the war proved a tragic end to Ron’s sojourn in the pulps. He served with distinction in four theaters and was highly decorated for commanding corvettes in the North Pacific. He was also grievously wounded in combat, lost many a close friend and colleague and thus resolved to say farewell to pulp fiction and devote himself to what it had supported these many years—namely, his serious research.

  Portland, Oregon, 1943; L. Ron Hubbard, captain of the US Navy subchaser PC 815.

  But in no way was the LRH literary saga at an end, for as he wrote some thirty years later, in 1980:

  “Recently there came a period when I had little to do. This was novel in a life so crammed with busy years, and I decided to amuse myself by writing a novel that was pure science fiction.”

  That work was Battlefield Earth: A Saga of the Year 3000. It was an immediate New York Times bestseller and, in fact, the first international science fiction blockbuster in decades. It was not, however, L.RonHubbard’s magnum opus, as that distinction is generally reserved for his next and final work: The 1.2 million word MissionEarth.

  How he managed those 1.2 million words in just over twelve months is yet another piece of the L. Ron Hubbard legend. But the fact remains, he did indeed author a ten-volume dekalogy that lives in publishing history for the fact that each and every volume of the series was also a New York Times bestseller.

  Moreover, as subsequent generations discovered L.RonHubbard through republished works and novelizations of his screenplays, the mere fact of his name on a cover signaled an international bestseller....Until, to date, sales of his works exceed hundreds of millions, and he otherwise remains among the most enduring and widely read authors in literary history. Although as a final word on the tales of L.Ron Hubbard, perhaps it’s enough to simply reiterate what editors told readers in the glory days of American PulpFiction:

  He writes the way he does, brothers, because he’s been there, seen it and done it!

  For more information about the life and works of L. Ron Hubbard,

  go to www.lronhubbard.org.

  The Stories from the

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  On Blazing Wings

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  He Walked to War

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  Price of a Hat


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  TALES FROM THE ORIENT

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  MYSTERY

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  Brass Keys to Murder

  Calling Squad Cars!

  The Carnival of Death

  The Chee-Chalker

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  Mouthpiece

  Murder Afloat

  The Slickers

  They Killed Him Dead

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  He Didn’t Like Cats

  If I Were You

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  A Can of Vacuum

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  Final Enemy

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  Greed

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  A Matter of Matter

  The Obsolete Weapon

  One Was Stubborn

  The Planet Makers

  The Professor Was a Thief

  The Slaver

  Space Can

  Strain

  Tough Old Man

  240,000 Miles Straight Up

  When Shadows Fall

  WESTERN

  The Baron of Coyote River

  Blood on His Spurs

  Boss of the Lazy B

  Branded Outlaw

  Cattle King for a Day

  Come and Get It

  Death Waits at Sundown

  Devil’s Manhunt

  The Ghost Town Gun-Ghost

  Gun Boss of Tumbleweed

  Gunman!

  Gunman’s Tally

  The Gunner from Gehenna

  Hoss Tamer

  Johnny, the Town Tamer

  King of the Gunmen

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  Man for Breakfast

  The No-Gun Gunhawk

  The No-Gun Man

  The Ranch That No One Would Buy

  Reign of the Gila Monster

  Ride ’Em, Cowboy

  Ruin at Rio Piedras

  Shadows from Boot Hill

  Silent Pards

  Six-Gun Caballero

  Stacked Bullets

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  Vengeance Is Mine!

  When Gilhooly Was in Flower

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  Petey also finds a new ornery personality; he claims to be the toughest man around from Kansas City to N’Orleans, a man so tough he’d give a rattler nightmares. But when the chief Ranger, Captain Shannon, calls Petey’s bluff and sends him after the most dangerous desperado in the state, Petey must discover what it really means to be Ranger-tough.

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  America in the 1930s and 40s

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