40th Anniversary of Don Pendleton's The Executioner: Mack Bolan Series, Part Four

In Part Four of the Birth of Don Pendleton's The Executioner: Mack Bolan Series , Don Pendleton spoke of critics. This again was in about 1973, at a time the Executioner had really taken off. You may want to read Part One, Part Two and Part Three prior to this one. See Posts below this one.

On The Critics by Don Pendleton

Of course, there is that other thing: the unfavorable comments of the critics. I don’t suppose that I’m any more thin-skinned in that regard or any more thick-skinned than most writers are. This is one of the things that every person in the creative or performing arts is wide open to and we have to simply accept it. Don’t have to like it. My own personal view of the written criticism is that it is a literary cannibalism. The critic is literally cannibalizing another piece of work in order to create a piece of work of his own. It must be recognized by knowledgeable people that reviews, criticisms, are, in fact, a valid art form in their own right. The person who writes these pieces of literature are in their own way attempting to create something. But in order to create something it’s necessary to borrow from another’s piece of work–and it just so happens that it makes much better reading and a much more effective criticism if you can really lace into the other guy and tear him apart. After you’ve said, it’s good, it’s great, it’s wonderful, what else can you say? Of course, there are many, many, very sensitive critics in all fields of the arts who are able to come up with some very meaningful criticisms which do add to a piece of work but, by and large, the average run of the mill critique of any art is a cannibalism. So I sort of accept that unfavorable stuff in the same spirit that it is given–I don’t pay much attention to it. I believe the best piece of criticism that I can read regarding my books are my royalty statements.

But there are some valid criticisms about my books which perhaps I should try to answer. It has been said that the books are hastily put together. Haste is a relative term. For a person whose normal writing speed is three or four pages a day or perhaps three or four paragraphs a day, then to put out a full length novel in thirty to sixty days is absolutely a hastily done piece of work.

I average about ten pages a day and I could do double that amount. I have done double that amount, many times. But yes, at some cost to the work. But I suppose that I sweat and agonize over my phrases just as much as any writer who has ever lived. I change, rewrite, revise, carry on as though I was writing the great American novel. I work very conscientiously and with very great pains to put together prose that is easily assailable. I have adopted a sort of conversational style in my writing in these Executioner books, particularly. I try to write more or less as people speak and yet to do so in such a way that there is no ambiguity as to the meaning of what I’m saying. I don’t concentrate on the fine points of grammar. When we run across people in everyday life who are speaking in precise grammatical terms they invariably come off sounding affected, stilted, and I certainly don’t want to write in that fashion.

I know all the rules of sentence structure, use of words, but hell, I’m not writing grammar books. I’m writing fiction. I’m trying to write very hard-hitting, very suspenseful, edge of the seat, eye-ball jerking fiction. I don’t priss around my study with a dictionary in my hand, a thesaurus on my hip, nor do I have a word usage chart on my wall. I’m continually working toward the fast moving, the fast flowing, the evocative, the shocking. I’m trying to keep the reader hooked, page by page, by page. This is my approach. Now to someone who wishes to sit down and tear apart this type of writing, it is the easiest thing to do. I would only like to point out that we can sit down with any of the great works of literature and if we are looking for the weak points, if we are looking for the points where the author had not followed every little rule, yes, we can tear it apart. We can tear Charles Dickens right down to the bone. We could make Ernest Hemingway look like a sixth grade drop-out. It’s not the guys who write by the book who write the books that sell–books that become meaningful. It’s by and large, the guys who say to hell with what I’m supposed to do–this is the way I see it should be done.

I frequently invent words. There are many, many invented words in the Executioner series. I’m not afraid to invent words. The people who compile our dictionaries are constantly working adding new pages to the dictionary. They have to do that because there are people in the world who aren’t afraid to invent new words.

As far as the rules for writing literature–there are no rules. I don’t believe any man ever sat down at a typewriter and began writing a book and did, indeed, manage to write a book that was worthy of being published that followed some sort of formula set down by someone else on how to write the book.

What I regard as my last word to the critics is simply this: No national critic ever noticed the Executioner books until they had become nationwide best sellers. My pitch was made to the readers and the readers responded. If the critics want to come along now and notice me simply because I forced them to notice me by the wide sales of the books, then they can say whatever they please. I simply don’t give a damn. However, if they are going to discuss the books in print, I don’t think it would be unreasonable of an author to ask that they do read the book before they attempt to criticize it. They shouldn’t simply turn to page thirty and pick out a couple to sentences to criticize and then turn to page ninety and then pick out a couple more sentences and call that a criticism of the work.

Don was correct in saying that his readers are who mattered. After all, they are the ones buying the books and coming back for more. Forty years later Don Pendleton's fictional hero, Mack Bolan is still alive and kicking.... The Executioner Series has had at least three generations of readers now. It may be four generations in some cases, as I recall in about 1985 when he did a booksigning at the Pentagon, there was an Air Force Officer who told us his father and son were fans. His son was in Air Force also. So by this time...that Officer's son may have children who are reading the books. I say children because the fans of the books have always included young and older women, along with the boys and men. Everyone loves a hero.

And before I'm asked, no, movies have not been made. I still have hopes that some day Mack Bolan the Executioner may make it to the big screen. When it happens, I hope we recognize him.

The drawing of Mack Bolan was commissioned by Don in 1975 and was done by a young talented artist, Mike Cagle of Indiana.

My thanks to the Gold Eagle writers...keep writing guys!

~Linda

© Copyright Don Pendleton, Linda Pendleton.

Part One
Part Two 
Part Three 
Part Four

40th Anniversary of Don Pendleton's The Executioner: Mack Bolan Series, Part Three

In Part Three of The Birth of Don Pendleton’s The Executioner: Mack Bolan Series of Novels 40 Years Ago, we are looking at Don Pendleton's Creative Writing Style. You may want to read Part One and Part Two before this one. He taped this originally in 1973 and mentions his lawsuit with his publisher, Pinnacle Books, who at the time was trying to claim the Executioner series as their own. Don won the lawsuit and his copyrights were returned to him.

Don Pendleton’s Creative Writing Style of The Executioner SeriesNow a word or two regarding the creative style used in these books. I was asked in an interview recently [about 1973] if I thought this particular formula had reached its logical end. My response to that question was that I simply don’t use a formula so I couldn’t answer the question. Because the Executioner was a trend setter, there are now a lot of imitating series which have become a sort of normal thing in the trade–a lot of publishers developed trending series, that’s all. There is actually no formula involved primarily because of the creative style used by me. My old publisher, Pinnacle, in the present litigation that we’re in [1973], one of his claims is that the Executioner is a House Series, that it was created by Pinnacle and that the character, plot, the situation, what he calls the concept, was given to me to develop. This is ridiculous. I couldn’t begin to work along anything like that. He tried to use the synopsis that I submitted to him of the original book, the first book, to show the differences between the synopsis and the completed book as evidence that they had exerted a great influence in the nature of changes and revisions as evidence that I was working under their direction. But here again, the difference between the original format of story idea and the final version of the work was the inevitable result of the way I work. A synopsis is nothing more than the skeleton of a story idea that establishes mood and thematic movement in somewhat the nature of a motion picture story treatment. It’s not a plot outline which details specific story elements to show how these elements interact to produce a story. I don’t even use the outline method for story development at any time. My method constitutes an evolution of theme and movement through character into a story which is not even conceptualized until it is told. And the characters are seldom more than un-dimensioned shadows until they are confronted with the story elements. That is to say the story does not exist. It does not exist even in the author’s mind until they [the characters] are confronted with the story elements. That is to say that the story does not exist even in the author’s mind until the book has been written.

Now using this method, it is the telling of the story that actually develops the characters and produces the various elements of style, plot, suspense, even the action. In this particular instance, the Executioner books, the story idea which first became expressed in the synopsis was nothing more than a vague thematic treatment concerning a combat trained and highly capable young man with a strong sense of duty who is confronted with a terribly unjust human situation which just may be within his abilities to correct. He accepts the challenge, this call to duty, with clearly no chance, no chance whatsoever, for his own survival, unless, now unless, he can rise to a level of human excellence and greatness, and this rise of the hero, his efforts to maintain that almost impossible level of excellence, are the story elements that provide suspense and action in the unraveling of the story.

Working within such a framework, naturally the author himself is in continual crisis as he attempts to unfold a story which has not even been formulated. The fragments of plot and scene which were necessarily perceived to synopsize the proposed work for a perspective publisher–in my case, anyway, are always abandoned or at least greatly altered as the story unfoldment picks up momentum and begins to propel itself. So it is because of this that Pinnacle’s allegations that they are directing my work and calling the shots and everything, are so ridiculous. Not only has my work never been directed by other persons, it has never been fully directed by myself. There is just no way under the sun that anyone, anyone, could direct my work. Any attempts to do so would be absolutely antithetical–antithetical to the creativity which has produced the Executioner.

I don’t take full credit for the success of the books because I constantly amaze myself with the things that come out in the completed manuscript because I never know where I’m going when I start, where I’m headed. I simply begin with a tense situation and put the guy in jeopardy and allow his own character, his own established modus operandi, his quest for excellence, for justice, to tell the story, to get him out of the trouble, and hell, I never know what is going to happen in the books until I get to the very final shot of the story. So this is about as close as I can come to a description of the creative style of this author, Don Pendleton.


Part One

Part Two

Part Three

Part Four

© Copyright Don Pendleton, Linda Pendleton.

40th Anniversary of Don Pendleton's The Executioner: Mack Bolan Series, Part Two

In Part Two of the Birth of Don Pendleton's Executioner Series, we are looking at the underlying theme of the Mack Bolan books. Don Pendleton considered his Executioner Series of Action/Adventure novels to be a study in the metaphysics of violence. You may want to read Part One first.

In the 1970s Don Pendleton had this to say:

The Metaphysical Theme of the Executioner Books

Some people may say that these books are not examples of metaphysical thought, but they are. Metaphysics grapples with the nature of reality and the Executioner books undertake an examination of the essentially violent nature of nature.

In the first appearance in the series, Bolan was already aware that he lived in a violent universe. In Book One, War Against the Mafia, page 166, –a quotation in Bolan’s journal, his diary–“Life is a competition, and I am a competitor. I have the tools and the skills, and I must accept the responsibilities. I will fight the battle, spill the blood, smear myself with it, and stand at the bar of judgment to be crushed and chewed and ingested by those I serve. It is the way of the world. It is the ultimate disposition.”

Does that sound like Bolan the metaphysician? Not really. It’s Bolan the killer, the Executioner. His metaphysics are an out-picturing of the universal ethic as this character vaguely understands it.

You know the first spark of life to move across this planet was a violent entity, predatory, perpetuating itself through a predacious assault upon its environment. Bolan reflects this when he says: I am alive tonight because of violence loose upon the earth. Each breath I take is paid for by crushed and digested once-living things. Violence is the way of the world because competition is the way of life-perpetuation. Without violence there can be no competition, and without competition there can be no life. Something dies for every instant that something else lives.

Now Bolan, in that, was not referring to human violence per se, but as violence as an essential element of the reality of life. He’s recognized this–and it is a metaphysical idea. But this understanding doesn’t result in a cynical attitude toward life for Bolan as it has done for many others. Quite the opposite. Bolan views the violence of nature as a tool of the universe, a very useful and constructive tool when applied through human consciousness toward the attainment of noble goals. But he takes the Friedrich Nietzsche concept in Book One Front Piece–“You say that a good cause will even sanctify war! I tell you, it is the good war that sanctifies every cause!”

Now, obviously, Bolan has a good cause. Just the same, he isn’t using this shield of good to justify his actions. The cause is already well established. Most people will agree that organized crime is an evil that the world can do without. The problem has been that no one seems strongly enough motivated to put their hands where their conscience is. Bolan is saying, in effect: Now look, I offer up my life to oppose this crime against humanity. In this Nietzsche-ian idea, Bolan says let my blood and my dedication serve as an example to all good people who are sitting by and tolerating these injustices, let my impossible war sanctify this good cause. Not justify it, but sanctify it.

So, no, Bolan is no cynic. In Book Five, Continental Contract he says, “It isn’t enough to simply believe in something. To be truly alive you have to be ready to die for something. Harder still, there are times when you have to be willing to kill for something. I am both ready to die and willing to kill.”

Now the key phrase to that chain of thought is: to be truly alive. Is this metaphysics of a killer? Well, I think so. Another man said it this way once: If you will truly live, then you must be born again. Well, Bolan is reborn. He is reborn with every beat of his heart and he came to this understanding in Book Four, Miami Massacre via the prose of the girl who befriended him and actually died for him. She wrote him: “The world dies ‘twixt every heartbeat, and is born again in each new perception of the mind. For each of us, the order of life is to perceive and parish and perceive again, and who can say which is which–for every human experience builds a new world in its own image–and death itself is but an unusual perception. Live large that you may experience large and thus, hopefully, die large.”

In the original edition of Book One, War Against the Mafia, we also carried two quotations in its Front Piece that have been dropped from the newer editions. These were by Thomas Carlyle–“The courage we desire and prize is not the courage to die decently, but to live manfully.”–and from Elbert Hubbard, “God will not look you over for medals, degrees or diplomas, but for scars.”

I don’t know why these were dropped in the later editions unless some editor thought I was over taxing the page or the mind of the reader, because these two quotations give more of the philosophical overview of the character than the one remaining.

I relay on these little front pieces to set the tone for the book that’s going to follow. In a sense these are the theme pieces and usually this theme is no where else stated in such precise language, although it is certainly present in every movement of the story from the first page to the last.

So, as for the metaphysics of an Executioner, Bolan’s own reading of himself is hung out there in that first book for all to see, who wish to see: “I am not their judge. I am their judgement. I am their executioner.”

This is a rather concise statement of a rather broad metaphysical idea. It is karmic law in action with Bolan as the instrument of that law. He evades “judge not that ye be judged,” “vengeance is mine saith the Lord”–and so forth, by a simple elevation of the law. He, himself, is the violent judgment of a violent universe, the tool of the balancing forces of nature, the cataclysmic answer to the cancer cells of human destiny. Sure, Mack Bolan’s character is his fate and that is a strong metaphysical idea.

As I mentioned in Part One:

Don Pendleton's Mack Bolan, The Executioner, theme is "Live Large" and recently the Random House Historical Dictionary of American Slang, Volume II (H-O) gives derivation credit for "live large" to Don Pendleton and his Executioner Series.

Part One

Part Three

Part Four
© Copyright Don Pendleton, Linda Pendleton.

40th Anniversary of Don Pendleton's The Executioner: Mack Bolan Series, Part One

The Birth of Don Pendleton’s The Executioner: Mack Bolan Series of Novels 40 Years Ago,

Part One

In March of 1969, the first paperback novel of Don Pendleton’s The Executioner Series was published. Soon after, the second book, and those to follow, became a publishing phenomenon with the success of the continuing fast-hitting adventures of Mack Bolan’s fight to destroy the Mafia. The books were published worldwide in many languages. Don Pendleton is acknowledged as the "father of the modern Action/Adventure novel." His Mack Bolan, The Executioner, theme is "Live Large" and recently the Random House Historical Dictionary of American Slang, Volume II (H-O) gives derivation credit for "live large" to Don Pendleton and his Executioner Series.

At the height of the Executioner success many publishers and writers attempted to ride on the coattails of Don's success. Some succeeded. Others did not. In many of those books, what appeared to be missing were the elements that Don had so skillfully crafted with his presentation of his fictional hero.

Don wrote the first novel in the series, War Against the Mafia out of his desire to express his discomfort with the reaction of many Americans to our soldiers who were dying for our country in the jungles of Vietnam and those coming home to outrageous verbal and physical abuse. So Mack Bolan became Don's symbolic statement. He also became every soldier's voice. Don created a heroic character in Bolan, a true hero who was dedicated to justice. The enemy that Bolan had to fight was no longer on the battlefields of Vietnam but right here on American soil, and that enemy was the Mafia.

Within his Bolan stories are strong values with an underlying theme of a higher morality that Bolan follows. More than once Don said about the Executioner novels, "My biggest job throughout writing the series was to keep faith with Bolan–that what he is doing is right. I wanted an enemy beyond redemption–an enemy that all civilized procedures had failed to put down. The Mafia was ready-made. They embodied all the evils of mankind."

In 1980, Don franchised his Executioner characters to Harlequin's Gold Eagle Imprint after writing Executioner thirty-eight, Satan's Sabbath. Gold Eagle's program has resulted in close to 600 Executioner Mack Bolan books published since with several spin-off series: Able Team, Phoenix Force, Stony Man, and Super Bolan. Don was Consulting Editor with the Harlequin program until his death but did not write any of the Harlequin books, which have all been written by a team of writers. Mack Bolan’s fight then became terrorists.
In an effort to explain his Mack Bolan Executioner character and his own style of writing “heroic” fiction, Don Pendleton had this to say:

In the first Executioner novel, War Against the Mafia, the hero, Mack Bolan is quickly established as a superb combat soldier dedicated to a lonely “one man war” against the Mafia. This is a war of attrition...” the same as in ‘Nam.” Bolan uses a variety of heavy military weaponry in a relentless assault against “this new enemy” wherever he may discover their presence. Characterization of the character is to present this very violent figure as a highly motivated, heroic, and sympathetic man.

The books are narrated as the closest thing to docudrama, with an authoritative third-person objective viewpoint occasionally shifting into stream of consciousness via Bolan and other characters. The emphasis is to explain the action as an approving, historical account in a stirring presentation, and to dimension as much as possible the violent activities of the hero.

Styling of the Mack Bolan stories requires a structure for carrying fast-paced hard-hitting action sequences. The writing is punchy, declarative, stirringly graphic. The reach is toward the reader’s belly, designed to evoke visceral response and rousing empathy. This is “heroic” fiction.

Premising the Bolan stories are the ideas that a good offense is the best defense, and that human violence can have positive social values–that, indeed, the goals of mankind can sometimes best be dignified through violent confrontation. The first novel, War Against the Mafia, employed a quote from Nietzsche on the theme page: “You say that a good cause will even sanctify war! I tell you, it is the good war that sanctifies every cause!” These are frankly and consciously violent books because they intend to illustrate the violent themes of mankind.

The Mack Bolan books are prototypical Action/Adventure. A good “action-adventure” book is forever in a hurry, breathless, bursting with movement and activity. I try to keep my hero clean. I try to give him all the higher human attributes. I try to depict his war as a crusade–a very highly motivated crusade, with high ideals, very strong human overtones. I show this man in almost continuous conflict with himself. I show that his course through life is no bed of roses. I’m not exhorting anyone to emulate this man by his example. Certainly there is nothing in the Mack Bolan adventures which exhort anyone, young, old, male or female, to follow in his footsteps. This guy lives a pretty grim life. He’s no James Bond, with all the gourmet foods and the luxury living. He does have an occasional fling at romance but he doesn’t even have the time to appreciate that. The guy has a pretty rough life.

Of course, the character of Mack Bolan is built around this idea–that this is a man who has submerged his own life into his mission. He has sacrificed everything that he holds dear, all his own ambitions. After all he is a man with dreams, and all these things he’s forgone in order to fling himself into this holy war.

I believe, in the deeper theme values, my Executioner books reflect my values–and that something very, very important is taking place here on this obscure little planet. I do feel that life has tremendous meaning. I feel most sincerely that the good life is the challenged life and not the easy one. I think that in their deeper theme values my Executioner books reflect this philosophy. The books are not sheer blood and guts. Sure, there is plenty of that in there, deliberately so.

I do believe that I have managed to utilize highly, highly dramatic situations, perhaps bordering on the melodramatic to bring out the deeper values that are inherent in all human life. I’m very strongly aware that many young and impressionable readers read my books and I feel a sense of responsibility there. I work very hard to see that my hero is a truly three dimensional person with very high purpose. I try to present the things he does in the context of tremendous meaning.

I will never apologize to anyone for my Executioner books. I feel they are a testament to the human spirit of mankind and I find it personally gratifying that the books have evoked such a wide response in the American reader. And it has been a wide response, not just in the numbers of books sold but in the cross section of American society who happen to be reading the books. The readers are professional people, white collar workers, blue collar people, military people, men, women, children from age twelve to age ninety four. The books are more than simple escape literature. The books do actually involve the reader in a rather high cause–the perpetration of human excellence, high human values, and besides that, they are just entertaining, that’s all.

Beyond that, I don’t know how to evaluate the books. I doubt very much that any writer can really give a purely objective evaluation of his work. The only sort of gauge I have is in the way I feel when I write those final words, The End. If I have a good feeling when I put those words down, then I feel I have accomplished my objective. I’ve said what I’ve started out to say and told the story I started out to tell, and if I finish the book feeling good then I have to assume that the reader will finish the book feeling the same way–and that’s really my primary goal.

I want to entertain and along with the entertainment, I do want to include something that does dignify the work a bit. That doesn’t mean that the time spent reading the book is lost time-completely frittered away–but that along with the entertainment there has been a few moments of perhaps introspection on the part of the reader, perhaps a little bit of understanding of the world about him.

I don’t suppose the books will ever go down in the big registry of great literary masterpieces, as certainly, they’re not that. I could only hope that Mack Bolan will take his place along with such American fictional heroes as Mike Hammer, Travis McGee, Perry Mason, Matt Helm, and of course James Bond, who is not an American hero but an Englishman, but nevertheless, in the same genre. And I hope it can be said that Mack Bolan is his own man–his own type–and he does stand apart from the other heroes, perhaps no better than they are but unique in his own right, and aside from the hope that the books will have continuing acceptance, that they will continue to sell, this is about the most I could ask for.

Don Pendleton, left, with Artist Gil Cohen. Gil did Executioner covers for a number of years.

Photo Copyright 1985 by Linda Pendleton.

Part Two

Part Three

Part Four

© Copyright Don Pendleton, Linda Pendleton.
All Rights Reserved. 

Don Pendleton's The Executioner Graphic Novel, The Devil's Tools

Comic graphic novel, Don Pendleton’s The Executioner: The Devil’s Tools, now available at book stores such as Barnes and Noble, Amazon, other bookstores and comic bookstores.
I wrote the Introduction to the Graphic Novel, which begins:

Introduction by Linda Pendleton: "Don Pendleton’s Creation of Mack Bolan, The Executioner."

"Forty years ago, 1968, was an unsettling time in America. There was the Vietnam War and civil unrest on our city streets and college campuses, the assassinations of Martin Luther King Jr. and Robert F. Kennedy. There were the psychedelic streets of San Francisco’s Height-Ashbury and Berkeley, love and flower power, and the long iniquities of the Mafia and organized crime. And that’s when The Executioner Mack Bolan series came to be.

"Our returning soldiers were treated badly and the events of this disturbing time in our American history inspired Don to write the first story for the Mack Bolan series. Don needed an enemy beyond redemption for Bolan and the criminal actions of the Mafia made them the perfect choice. After twelve years and thirty-eight books, the Mafia was fairly neutralized in real life. Since 1980 terrorists and international criminals have filled that role.

"My late husband had this to say some years ago about the development of his Executioner series: ‘When I wrote War Against the Mafia as a Vietnam statement, I didn’t expect much to come of it–but quite a bit came and it captured me. I continued the books to feed the obvious hunger that was there for heroic fiction.’"

To read more of my Introduction you will have to get the graphic novel....

This new original script of The Devil’s Tools is written by Douglas Wojtowicz, who has written several of Gold Eagles’ Executioner novels.

Cover art done by talented cover artist Michael G. Herring; Illustrated by S.I. Gallant; Colored by Luis Antonio Delgado; Edited by Thomas Waltz.

Published by IDW Publishing in conjunction with Harlequin’s Enterprises, Gold Eagle, World Wide Library. http://www.idwpublishing.com/

Read more about Don Pendleton at his official site:http://www.donpendleton.com/

~Linda

Linda Pendleton's Comic Book Interview

I was contacted recently by an online comic website, Jazma Online and asked by Richard Vasseur, V.P., if I would be interested in doing an interview about my adaptation and scripting of The Executioner Comics: War Against the Mafia, and Death Squad.

I was happy to do so and the interview is now posted at:
http://www.jazmaonline.com/interviews/interviews2007.asp?intID=457










~ Linda