4 out of 5

While the publicity of publishing a lost novel by Gore Vidal would be plenty incentive for most book publishers, Hard Case Crime turns out to be a perfect fit: seemingly abandoned by the author, from a period when he wrote under pennames – this work appeared under ‘Cameron Kay’ – “Thieves Fall Out” travels in all the noir tropes often found at HCC. But: there’s an interesting avoidance of full-on indulgence in those tropes that firstly causes Thieves to fall out; secondly, is that it’s exceedingly well written, perhaps to the point of not coming across as much of a pulp at all. We can maybe guess, then, why Vidal would have not cared for its republication: there’s an admitted sense of restraint throughout the book, as though its author kept wanting it to be something else. However, the story can’t help but be of its genre: its characters and scenarios are to fully drawn from that world.

Taking place in Egypt, leading up to the Egyptian Civil War, Pete is a perpetually down-on-his-luck American, waylaid in Cairo and trying to earn some bucks to keep up his city-to-city wandering, maybe with some payday in the future. A boxing past keeps him tough; his wits keep him alive and ticking, despite – recently – having all his money stolen. And then a potential grift of a rich-looking fella turns in to a larger opportunity: said fella, and this good-lookin’-gal, want to hire Pete to transport something out of Egypt. Sure, it’ll be dangerous – though they can’t say why – but it pays well. Suspicious but willing, Pete agrees, and finds himself mixed up in a confusing web of allegiances – between different people seeming to be in charge; crooked cops (named Mohammed Ali!); backroom manipulators (with a hunchback!); and another beautiful dame.

In the background, Egyptian politics simmer; they’re not really the point, but the distant reality is telling of Gore’s overall tone: all these characters are mixes of good and bad, and don’t squarely fall into the archetypes my language above may suggest… while also wholly fulfilling those roles. It’s a fun dance, and Pete remains on his toes throughout, with the 200ish pages circling Pete around and around with stolen goods, trying to figure out his best play to hopefully get the girl and stay rich. This does mean it’s often a book of talking and not action, and while Vidal writes in some truly intense dialogue back and forths, there are a couple points where the story feels like it’s chasing it’s own tail.

Vidal’s own politics are not really within my knowledge wheelhouse beyond a wikipedia browse, but – though there’s definitely some dated language in the book – I feel that the writer’s general worldview help to present the foreign setting (and its denizens) without the stereotypes that often come bundled with pulp writing of the era, and also without the “I have Egyptian friends!” type approach that is also often used. Yes, someone is still called swarthy, but the place feels real; similarly, the women do strut and demure, but also are far from one-note sexpots – that’s part of the amusing subversion Vidal does, and there’s really not all that much sexy stuff here, except for Pete’s foiled advances.

Slightly more literary feeling than a lot of the HCC fare, but an absolutely quality adventure pulp that belongs in the collection.