Brett Halliday Bibliography Apa

1. Introduction

Lexical phrases constitute a somewhat heterogeneous epistemological field that has traditionally been an object of study of philology and has represented a methodological challenge for applied linguistics and lexicology. From a theoretical point of view, in the past its study had been considered essentially anomalous for transformational generative grammar, but it is now recovering prestige both from systemic perspectives and from discourse viewpoints (Salvador, 1995:13-14 and 28). It has also raised a new interest in one of the language industries that has attained its climax at the end of our century: translation studies.

Within the vast field of lexical phrases and idioms, in the present study we will focus our attention on certain units, which function as discourse markers. Some of them are still in a process of grammaticalization: they are particles and discursive sequences that have become conventional over the years, but which as yet do not usually appear in the dictionaries as independent entries. Translators must understand the pragmatic meaning of these since, most of the time, their translations are expected to produce the same effect on the addressees of the target text as the source text produced on its own addressees.

And, precisely, the main function of audiovisual translation is to produce a similar effect on the target culture audience as the source text produced on the source culture audience: films, documentaries or cartoons are expressive texts which seek to elicit different emotions from their addressees. In this respect, these texts are intentionally fabricated with a series of linguistic and semiotic devices capable of successfully fulfilling their authors’ intentions. Among these devices, one can find our unit’s object of the present study: some discourse markers indispensable to the logical composition of ordinary conversation or written discourse, and without which conversation or written discourse would fall apart.

We are going to pay attention to the particles now,oh, you know, (you) see, look, and I mean, particles which clearly help in the production of coherent conversation and, especially, make clear the speaker’s intentions and show what the speaker intends to do with words. We have selected these particles because most of the time their Spanish correlates have not the same pragmatic meaning, constituting a usual pitfall in audiovisual translating. For the sake of brevity, we will only analyze exhaustively the particle now, and summarize what happens with the rest of the particles. Conclusions drawn in the analysis of now can be fully applied to the rest of the discourse markers mentioned above.

3. The Role of Discourse Markers in Audiovisual Translating

Within the genre of audiovisual texts, films, documentaries or cartoons are text types characterised by their complex mode of discourse: these texts are expressed through images (icons and written texts) and sounds (words, paralinguistic features or music and noises). This inherent characteristic makes them different from other genres in which the translator is allowed to focus his/her attention on verbal discourse alone.

In our case, however, the translation has to match the requirements of the visual image. And this constraint cannot only be overcome by means of synchronising the proper lexis and a good syntactic structure with the visual image: we also need to be coherent in the way ideas are linked and their relation to each other.

It has been widely stated that our competence as readers or addressees of a certain message is such that we tend to extract coherence in texts that lack of coherence, that is to say, taking for granted the cooperative principle, we constantly make an effort to understand the relationships between ideas and units of talk, in spite of the fact that these ideas should be badly connected or simply not connected (Halliday & Hasan, 1976: 23; Brown & Yule, 1983:196; Halliday, 1985:301-ff; Fowler: 1986:106; Hatim & Mason, 1990:194). This is often the case of audiovisual translations, be they dubbed or subtitled versions of a film.

This means that linguistic and textual competence is extremely helpful to understand implicit relations between apparently disconnected ideas, and can make understandable fragments of texts, or whole texts, with implicit cohesive ties hidden among their sentences. Otherwise, the results shown below would lead us to consider audiovisual translations a complete failure.

Let us now see what happens with some discourse markers in the three translations mentioned above.

4. Now as a Marker of Transition in Thematic Progression

Following Schiffrin (1987:230) now is a deictic element that “marks a speaker’s progression through discourse time, by displaying attention to an upcoming idea, unit, orientation and/or participation framework.” It is important, however, not to confound now as a marker or conjunctive element with the adverb now: the adverbial refers to “the time at which a proposition is presented to be true,” whereas the discourse marker “occurs in discourse in which the speaker progresses through a cumulative series of subordinate units” (Schiffrin, 1987:228). This is the now we are interested in.

Let us take a look at our examples. Texts are identified as follows: ST= Source Text; WT= Written Translation; DF= Dubbed Film; SF= Subtitled Film. The symbol ___ marks the absence of the discourse marker:

Ex.1. Now (marking a speaker’s progression through discourse time, by displaying attention to an upcoming idea, a marker of transition in thematic progression)

Marsellus, a cross between a gangster and a king, is warning Butch, a former boxer, who is to lose a fake combat against a punch-drunk boxer so as Marsellus can get money from it

ST Butch, right now you got ability. But painfully as it may be, ability don’t last. And your days are about over. Now, that’s a motherfucking fact of life, but it’s a fact of life your ass is gonna hafta realistic about.

WT (…) Pero, por doloroso que sea, la capacidad no durará siempre.___ Esto es un jodido hecho de la vida, pero es un hecho de la vida sobre el que tu trasero tiene que ser realista.

DF (…) Pero por muy doloroso que sea, la habilidad no perdona. Y tus días se están acabando. Bien, es una ley de vida muy dura, pero (…)

SF (…) Pero por muy doloroso que sea, la habilidad no perdona. Y tus días se están acabando. ___ Esa es una realidad de esta puta vida, pero es un hecho (…)

Apart from the nonsensical translation of the written text, the failure in the choice of some words like habilidad in the dubbed film, or some odd collocations like realidad de esta puta vida in the subtitled version, we find that the discourse marker now has been lost in the process of translating, both in the written translation and the subtitled translation.

In the source text, now marks an orderly progression through a sequence of subordinate parts, now marks one part of that sequence. Marsellus is trying to convince Butch that his days are over and that is why he has to lose his combat on purpose, get the money Marsellus is offering him in exchange and go away. The absence of now in both versions obliges the audience to make an effort to relate the meaning of both propositions, which are no longer explicitly connected. That’s a motherfucking fact of life is connected with your days are over, but without the marker, the translation obliges the audience to guess the relationship between both sentences (in fact, the deictics esto (WT) and, to a lesser extent, esa (SF) are related to the two previous sentences with difficulty). The relationship can be grasped later on when the image shows Marsellus offering Butch an envelope stuffed with dollar bills – the audience will have to wait until that moment to fully understand Marsellus’s intentions.

But there is more: now also acts as a marker of sympathy. With that, Marsellus tries to put himself in Butch’s place, or at least, tries to make him understand that he sympathises with Butch’s feelings, now that Butch knows that his days in the world of boxing are over and he must retire. It serves the purpose of convincing Butch, trying to say “Well, I’m on your side, I know what you feel like now, but face up to it and do what I’m telling you to do.” This second interpersonal meaning is also lost, Marsellus tries to do things with words, and the key word here was now.

The dubbed version uses the Spanish connective bien. Unlike its English counterpart well, bien is not always used as a marker of response (Schiffrin, 1987:102 and ff.). It can also be used to mark thematic progression and can be used as a marker of sympathy too. It is colder than other discourse markers that comply with the same function in Spanish and that would have been more explicit here, as far as thematic progression and interpersonal meaning are concerned: mira, for example, could have successfully rendered the pragmatic value of the English now.

As W.J. Ball (1986:85) points out “now is transitional, frequently the opening word from a new speaker, but the same speaker can use it to indicate a new idea or stage within a topic.” This is the case in our second example.

Ex. 2. Now (the same speaker can use it to indicate a new idea or stage within a topic)

Lance is telling Vincent the repertoire of drugs he has got at home. After the first sentence, they walk and come into Lance’s office. The following scene shows us both characters in a room.

ST Step into my office. Now, this is Panda, from Mexico. Very good stuff. This is Bava (…) Now, the first two are the same (price), but this one… this one’s a bit more expensive (…) when you shoot it, you’ll notice why (…)

WT Vince, ya puedes entrar.____ Esto es Panda, procede de Mexico (…) ___ Las dos primeras valen igual, pero…

DT Vamos. ____ Esa es Panda, de Mexico, buena mercancia. ____ Las dos primeras valen igual, pero…

ST ____ Esta es la Panda, de Mexico, buena calidad. ___ Las primeras valen igual, pero…

In this second case we have two nows. The first one is clearly used to indicate a new idea. Both characters were talking about piercing before, and now the marker presents a second topic, precisely the main topic: the reason why Vincent has come to Lance’s place. We can see that this transition is not explicit in the target texts, neither of them has explicitly connected the second topic with the first one. It does not mean that the translation is worse, we are not concerned here with assessing translation quality. Furthermore, the translation is fully understandable. We are more worried about the mental process the audience has to use in order to put ideas together, in order to understand logical relations between ideas and sentences.

Transition is a property of certain discourse markers that refers to subject matter indicating a change of topic, that is to say, “the previous argument is abandoned and a new topic follows” (Ball, 1986:152). In the film, transition is also marked by the physical transition both characters take, changing from one room to another. This semiotic potential helps the audience to understand that there has been a soft jump between one topic and the next. The Spanish audience can thus capture the intentions of the source text. Once more, the source text is explicitly cohesioned, and coherence comes from both the discourse marker now and the visual support of the scene in which Lance and Vincent go into another room, which semiotically adds to the topic change.

The second now also indicates a new stage within a topic. Drugs are presented in terms of their quality and now it is time to talk prices. Here we see another function of this second now. Not only does it mark a new stage in the conversation (now let’s talks about drugs prices) but it also anaphorically advises the audience that a contrast is going to be shown: it is also marking the presence of the connective but that will introduce the idea that the third drug is more expensive because it is better quality and has better effects. The Spanish translations present the connective but abruptly to the audience, with no previous preparation, resulting in a less coherent adversative sentence that can, nevertheless, be understood thanks to the audience linguistic and textual competence.

Finally, it is not admissible to translate the marker now for the Spanish adverbial ahora, a common tendency in translator trainees which seriously affects text coherence: in Spanish ahora either introduces the idea of here and now, or the logical concept of contrast (ahora bien). As we discussed before, the English now can be a time adverb or a discourse marker, whereas the Spanish ahora usually functions as an adverbial or as a discourse marker introducing the pragmatic idea of contrast, just like ahora bien. This is the case of our third example.

Ex. 3. Now (as opposed to the Spanish adverbial or sometimes marker of contrast ahora)

In a dance contest, the presenter is showing the prizes to the audience and introduces the participants

ST One lucky couple will win this handsome trophy (…) Now, who will be our first contestants?

(In the Written Translation the whole sentence was omitted)

DF (…) Una pareja afortunada se llevará este maravilloso trofeo (…) ____ ¿Quiénes van a ser nuestros primeros concursantes?

SF (…) Una pareja afortunada ganará este bonito trofeo (…) Ahora, ¿quiénes van a ser nuestros primeros concursantes?

The idea of contrast that the Spanish ahora introduces in the text is not coherent with the speaker’s intentions. The Spanish, bueno could have fulfilled the pragmatic function of the English now, inviting the addressees to answer.

A synthesis of the behaviour of the translations of now is shown in the following table:

Besides the question of the (mis)translation of now as a transition marker for the Spanish time adverb ahora – which is only possible in no more than four examples –, we can see that both audiovisual translations have lost most of the nows, obliging the audience to mentally connect the ideas and logical concepts this marker links, that is to say, obliging the audience to make the transition between topics, the thematic progression of the text. As we will see in our conclusions, this process is easier in audiovisual texts. All the same, it does not mean that the marker effects are preserved.

6. You Know Used To Express Confidentiality and Shared Knowledge

You know is another discourse marker in the process of grammaticalization. Although it does not appear as an independent entry in dictionaries yet, its meaning is gradually drifting away from its literal meaning. In its process of grammaticalization we can distinguish the following pragmatic constituents of this marker: first it is used to express shared knowledge between speaker and listener, or between speaker and the rest of the members of the same culture, that is, “general consensual truths” (Schiffrin, 1987:274). On the other hand, it has a clearly interactional function expressing confidentiality between the speakers, a device used to bring the listener to your own field. This is why it is usually employed in through-arguments, “y’know appeals to shared knowledge as a way of converting an opponent to one’s own side in a dispute” (Schiffrin, 1987:279).

For the sake of brevity, we will just show an example of you know:

Ex. 8. You know (used to express confidentiality)

Somebody has scratched Vincent’s new car

ST I just wish I caught ‘em doin’ it, ya know.

WT Sólo quisiera pescarlos mientras lo hacen, ¿sabes?

DF Ojalá lo hubiera cogido haciéndolo ____.

ST Habría dado cualquier cosa por coger a ese cabrón en el acto ____.

The following table shows the occurrences of you know in the source text compared with the occurrences of its translations in our three Spanish versions:

Again two remarks must be made here: first, films are an example of prefabricated discourse. Although film dialogues want to imitate real dialogues, it is striking that in a whole film you know only appears five times. Markers such as you know or I mean are abundant in real conversation. Film dialogues form part of what it is called prefabricated discourse: it imitates reality but cannot include all the hesitations, repetitions and syntactic anomalies that actual oral discourse contains.

The second remark again deals with translation assessment: confidentiality can be expressed in Spanish by the marker ya sabes que…, but just ya sabes followed by a pause sounds artificial. Solutions such as mira, pues (introducing an explanation), oye or sometimes the final interrogative ¿sabes?, can fulfil this function.

8. Look as a Marker of Digression and Reference

Look is another discourse marker that serves the purpose of managing information. The speaker uses it to set his/her own point “which might otherwise get overlooked amongst other more important matters. The speaker’s point or idea is usually relevant, if it were not so, it would be pointless to introduce it into the conversation. It may be necessary to interrupt the speaker” (Ball, 1986:140). This logical concept of digression (parallel to the expression apropos) is shown in the following example:

Ex. 9. Look (as a marker of information management)

Jules had previously asked a boy his name and the conversation had gone ahead. Now the boy is wondering what is Jules’ name

ST: Look, what’s your name? I got his name’s Vincent, but what’s yours?

WT: ___ ¿Cómo te llamas? Sé el nombre del otro, Vincent, pero, ¿cuál es el tuyo?

DF: Oye, lo siento, no me he enterado de tu nombre. Del tuyo sí, Vicent, pero del tuyo no.

SF: ___ Lo siento, no he entendido tu nombre (…)

As a marker of reference, look insists on a topic that has already been discussed, but the speaker may feel that (s)he has not put his/her point convincingly or has not made him/herself clear. So the speaker goes back to the topic. The speaker adds a relevant illustration or corrects a possible misunderstanding by focusing attention on a particular point, as in the following examples:

Ex.10. Look (as a marker of reference)

Marsellus is said to have thrown a man out of the window because the man gave him a foot massage. Vincent has just said that he would never give a man a foot massage, but he wants to make clear that this does not carry with it throwing a man out of the window

ST: Look, just because I wouldn’t give no man a foot massage (…)

WT: Mira, el hecho de que yo no le dé un masaje en el pie a un hombre (…)

DF: Escucha, el hecho de que yo nunca masajearía los pies a un hombre (…)

SF: ___ No le daría un masaje a un tío, pero eso no es excusa para tirar a Antwan por la ventana.

Ex. 11. Look (as above)

Dave, the barman, is smiling because he thinks that Vincent will take advantage of his date with Marsellus’s wife. But taking advantage of the boss’s wife can be really dangerous

ST: (Dave smiles). VINCENT: Look, I’m not an idiot.

WT: Mira, no soy ningún idiota

DF: ___ No soy un maldito idiota

SF: ___ No soy gilipollas. Es la mujer del jefe

Ex. 12. Look (as above)

Jules is arguing with Vincent, because Vincent is not showing good-manners with Jules’ friend, Jimmie, who has helped them both to hide a corpse in his garage

ST: I’m telling you, Vincent, just be cool (…) Look, I ain’t threatenin’ you.

WT: Te aconsejo Vincent que mantengas la calma. (…) Mira, no quiero amenazarte.

DF: Oye, no te amenazo ni nada, si empleas la cortesía.

SF: Escucha, no te estoy amenazando.

The perception verb look has been well translated by the perception verbs oir and escuchar in Spanish, both conveying the same pragmatic meaning as their English counterpart.

Finally, look also functions as a marker of transition, indicating a change of topic or focusing on some important upcoming idea. This is the case of our final example:

Ex. 13. Look (as a marker of transition, indicating a change of topic or focusing on some important upcoming idea)

Mia is about to die because of an overdose. Lance can save her, but he needs time to look for a medical book that explains how to proceed. So he orders Vincent to speak to her, to keep her conscious, while he looks for the book

ST: Look, just keep talkin’ to her

WT: Mira, no dejes de hablarle a ella

DF: Oye, tús igue hablando con ella. Yo iré a buscar el libro (…)

ST: ___ ¡Sigue hablándole! ¡Jody taerá eso! Yo voy a por el libro de medicina

As for the number of occurrences of this marker in the source and target texts, this table again confirms the loss of discourse markers in audiovisual translations:

Again, the absence of the marker is striking in the subtitled version.

9. I Mean as a Marker of Clarification

Another interesting lexicalised clause is undoubtedly I mean. According to Schiffrin (1987:295) “The literal meaning of the expression ‘I mean’ influences its function in participation frameworks. I mean marks a speaker’s upcoming modification of the meaning of his/her own prior talk.” It is the realisation of a repair strategy, often said before the listener asks for clarification. It can also be used to add a further explanation. It is really striking that the five occurrences of I mean in our source text have not been translated in the three versions analysed, except for two instances. This can only be understood if we admit, together with Ball (1986:54), that sometimes this phrase is not intended to clarify a point of possible misunderstanding. The message, if any, seems to be: What I am saying/trying to say is…, and as such the link word is not needed. It is addictive and its popularity even with the well educated has no rational explanation.” It seems to serve no useful purpose whatever and that is a possible explanation of its total absence in the translations:

I think that the Spanish markers mira and sometimes o sea can fulfil the function of clarification that I mean has. Mira can be used as a precaution to misunderstanding, as exemplifying what has been said before. O sea can serve the same purpose, but it also closes a statement, it can summarise what has been previously said.

But, although I mean may not serve any useful purpose whatever, it can be noticed that it does serve for conveying interpersonal meaning. For the sake of brevity we will only show an example in which the speaker fails in his purpose to clarify what he has said before. Vincent is explaining to Jules what drugs are like in The Netherlands. There Vincent could get the same kind of drugs they have in America but he wants to explain to Jules that there are differences. He uses the phrase I mean, and tries to clarify his point but he fails again and Jules, the listener still needs an example:

Ex. 14. I mean (as a marker of clarification)

ST – It’s the little differences. I mean, they got the same shit over there that we got here, but it’s just, just, a little different.

– Example?

WT – Las pequeñas diferencias. ___ Ahí tienen la mayor parte de la misma mierda que tenemos aquí pero hay una pequeña diferencia.

– ¿Como por ejemplo?

DF – Pequeñas diferencias.___ También ellos tienen la misma mierda que aquí, pero hay algunas diferencias.

– ¿Por ejemplo?

SF – Las pequeñas diferencias. ___ Consumen las mismas mierdas que nosotros, pero allí es distinto.

– ¿Por ejemplo?

Vincent is in the middle of his through-argument, but he fails to explain why it is different in The Netherlands. That is why Jules asks for an example. The three Spanish translations did not acknowledge the marker. I mean and example? bracket Vincent’s unsuccessful explanation. Example? is directly related to I mean.

Michael "Mike" Shayne

Created By Brett Halliday (pseudonym of Davis Dresser, who also wrote as Asa Baker, Mathew Blood, Kathryn Culver, Don Davis, Hal Debrett, Anthony Scott, Anderson Wayne; 1904-1977)

One of the most popular private detectives ever, red-haired Miami P.I. MICHAEL SHAYNE has had a long, successful, multi-media career. Shayne made his debut in the 1939 novel, Dividend on Death, by Davis Dresser, published under the pseudonym Brett Halliday. Dresser went on to write fifty more Shayne novels (with occasional help from ghostwriters such as Ryerson Johnson). Twenty-seven more were written by Robert Terrall and published as paperback originals by Dell, still under the pseudonym Brett Halliday. So that's 77 novels, over 300 short stories, a dozen films, radio and television shows, a few comic book appearances and even a play.

Because of his omnipresence, more than one wag has ventured to call Mike the "Generic Private Eye" but that may be missing the point. The Everyman Detective might be more apt.

According to author L.J. Washburn, herself one of the many ghostwriters who wore the Halliday nom-de-écrire:

"Shayne may have ended up that way, but he certainly didn't start out like that. The first half-dozen or so Shayne novels are unlike anything else in the genre I've read, a cross between hard-boiled private eye, screwball comedy, and fair-play detection. The screwball angle comes from Phyllis Shayne, Mike Shayne's beautiful young wife, and their relationship is much like what would have happened if Sam Spade had married Pam North (for those of you who remember Pam and Jerry North).

I think L.J. may be overselling the "comedy" angle, but the books are generally very well plotted and pleasantly complex, if surprisingly traditional in the early entries, with Shayne even occasionally gathering the suspects in the end to explain the crime and name the murderer, just like Nero Wolfe or Ellery Queen.

However, Phyllis (née Brighton) was something of a limited character, so Dresser got her out of town (and off screen) in a couple of books, then bumped her off when he sold the movie rights to the series -- right about the time the series took a more hard-boiled turn. But don't think Shayne wasn't hard-boiled from the start. It was the tricky, twisty plots themselves that couldn't keep pace -- Shayne was plenty hard; a big, hulking redhead with a taste for fisticuffs and brandy (ice water on the side) and an eye for a quick buck; an angle player more than willing to play the cops and the crooks against each other -- particularly if he could stick it to Peter Painter, the Miami Beach police chief. And if he had to fake evidence or cajole a witness, well... he could always count on Will Gentry, Miami Chief of Police, and Tim Rourke, ace reporter for the Miami Tribune, to help him smooth over the rough bits.

Having Phyllis killed off, ironically, led to maybe the best book in the series, Blood on the Black Market, in which all the comedy angles disappear and Shayne has to deal with Phyllis's death. Shayne's characterization in this book is a definite forerunner to such characters as Nameless and Matt Scudder.

Once Phyllis was disposed of, Halliday introduced Lucy Hamilton, who served as Mike's secretary, romantic interest and occasional foil for most of the rest of the series. But Halliday had learned his lesson -- despite their lengthy courtship, he never married Shayne off again.

"Of course, after that the Shayne novels do tend to become more standard private eye fare, but I think some of those early novels are very worth of rediscovery," L.J. Washburn said. And she can certainly claim to know her stuff, having written, or co-written (with her husband, fellow crime writer James M. Reasoner) thirty-seven Mike Shayne stories under the pseudonym of Brett Halliday for Michael Shayne Mystery Magazine (later to be known as Mike Shayne Mystery Magazine) which had been introduced in 1956 by Renown Publications. It continued for almost three decades as one of the few digests to offer detective fiction of a noticeably harder type than was generally available. Each issue featured a Mike Shayne story by "Brett Halliday," ranging from 7500 word short stories to 20,000 word novellas.

However, this "Brett Halliday" was not Davis Dresser, but a house name used by a variety of other writers, several of them quite accomplished detective writers themselves, including Dennis Lynds (aka Michael Collins, the most prolific, with 88 stories), Sam Merwin Jr. (the magazine's first editor), the previously mentioned Washburn and Reasoner, as well as Michael Avallone, Richard Deming, Robert Turner, Robert Arthur, Frank Belknap Long, , Edward Y. Breese, Peter Germano, and the writing teams of Bill Pronzini & Jeff Wallman and Hal Blythe and Charlie Sweet (Hal Charles).

In fact, Halliday also gave up writing the Shayne novels in 1958 with Murder and the Wanton Bride, although of course it continued, being ghosted by such other writers as Robert Terrall, Ryerson Johnson and Dennis Lynds. One of the ingredients of the formula Halliday had concocted in 1939, and to which he had faithfully adhered during his tenure as Shayne's writer, was a certain timeless quality. This allowed Shayne's other writers to continue writing novels into the seventies and for the short stories and novellas to regularly appear in Mike Shayne Mystery Magazine well into the eighties.


But no matter who was doing the writing, Michael Shayne proved to be a popular character, not only in print, but in film, radio and even television.

In 1940, Michael Shayne, Private Detective, the first of a what would turn out to be a long string of films, was released with Lloyd Nolan playing Shayne as a cocky, wise-cracking chucklehead. The comedic elements of the novels, such as they were, were definitely played up, with Shayne and Phyllis going at it in madcap screwball fashion, and Peter Painter was along for the ride, as well.

The film was based primarily of the Halliday novel, The Private Practise of Michael Shayne (1940), but it would be the last time one of his novels would be used as source material. Instead, novels by other crime writers were used, including Chandler, Frederick Nebel and Richard Burke; shoehorned into the Shayne mantle.

As a result, neither Phyllis and Painter were never seen again in subsequent films, although assorted girlfriends and wrongheaded cops seemed to be always on hand to complicate Shayne's life.

Lloyd appeared in seven films for 20th Century Fox, and in 1946, Hugh Beaumont (who would later star in television's Leave It to Beaver) took over the role for PRC. The PRC films were a definite step down in quality (and budget), but they did bring back Chief Will Gentry and Tim Rourke, as well as Phyllis Hamilton, a composite of sorts of Phyllis and Lucy.


A radio show featuring Mike debuted on Mutual as a West Coast regional in October 1944 with Wally Maher in the lead. Although mystery writer Brett Halliday got the credit for creating this detective and bringing him to radio, he never actually wrote any scripts -- although he was happy enough to pick up the royalty checks. There were three separate versions of this show over the years.

In October 1946 it went coast-to-coast, lasting until November 1947. It was resurrected on Mutual in July 1948, under the title of The New Adventures of Michael Shayne with Jeff Chandler in the lead, and ran for two years. The last version began in October 1952 on ABC, first with Donald Curtis playing Shayne, and later with Robert Sterling. This third and last series went off the air in July 1953.

In all versions, Shayne was "that reckless, red-headed Irishman" Halliday originally described, who used brain and brawn equally, though the writers tended to have Mike take the physical approach to solving most problems. Easier to write, I guess. His assistant, a lovely blonde named Phyl Knight, was not prominent in most of the episodes.


In 1960, Michael Shayne having pretty much conquered almost every other medium, moved onto television, with Richard Denning, who had previously starred in Mr. and Mrs. North, stepping into the gumshoes of Shayne. Patricia Donahue played Lucy Hamilton, but was replaced by Margie Regan about halfway through the show's first (and only) season.Lieutenant Will Gentry of the Miami Police Department and Tim Rourke of the Miami Tribune were also regulars, as was Dick Hamilton, Lucy's kid brother, a character who was never in Halliday's novels.

A few of the shows, however, were actually based on the books (or at least named for them), and a number of episodes were penned by William Link and Richard Levinson.


Turns out there was one more field to conquer, after all. The television show proved popular enough to spin off a Dell comic book tie-in. Surprisingly, perhaps, at least some of the comic stories were actually based on Brett Halliday novels, and not merely adaptations of T.V. episodes. The first issue adapted The Private Practice of Michael Shayne; the second adapted Bodies Are Where You Find Them, wherein a woman ends up dead in Shayne's bed amid speculation on what she was doing there in the first place (They always claimed "Dell Comics are GOOD comics."); and the third issue featured Heads...You Lose, where Phyllis dies in childbirth. I've always wondered what made Dell choose to go this route. Those early Halliday novels contained material that wasn't normally found in "good" comics -- drugs abounded, adultery was rampant, and the shortages in America during World War II were noted. And having the hero's wife die in childbirth? Not your typical comic book fare. Dell made similar decisions with Ed McBain's 87th Precinct comics.


  • "...almost as repellent as Dashiell Hammett"

--The New York Times on Dividend on Death, October 1, 1946

  • "Mike Shayne... get results, but his methods are, to say the least, questionable."

--The New York Times on Tickets for Death, April 27, 1941

  • "A typical Michael Shayne yarn with violent action on every other page. The pages in between are reserved for alcoholic refreshment."

--The New York Times on The Corpse Came Calling, August 2, 1942

  • Michael Shayne of Miami is certainly one of the best of the tough sleuths, and the stories about him are tops in the tough class... if you are not a Shayne fan already, these tasles will make you one -- provided that you like 'em swift and tough."

--The New York Times on Michael Shayne Takes Over (omnibus edition of first four novels), October 11, 1942


  • "With your nerve, I'd hate to have a tooth pulled."

-- Phyllis in 1940 film version of Michael Shayne: Private Detective


  • Dividend on Death (1939) .. Buy this book
  • The Private Practice of Michael Shayne (1940)
  • The Uncomplaining Corpses (1940)
  • Tickets for Death (1941)
  • Bodies are Where You Find Them (1941) .. Buy this book
  • The Corpse Came Calling (1942)
  • Murder Wears a Mummer's Mask (1943; aka "In a Deadly Vein")
  • Blood on the Black Market (1943; aka "Heads You Lose")
  • Michael Shayne's Long Chance (1944)
  • Murder and the Married Virgin (1944)
  • Murder is My Business (1945).. Buy this book... Nook it!
  • Marked for Murder (1945)
  • Blood on Biscayne Bay (1946)
  • Counterfeit Wife (1947)
  • Blood on the Stars (1948)
  • A Taste for Violence (1949)
  • Call for Michael Shayne (1949)
  • This is It, Michael Shayne (1950)
  • Framed in Blood (1951)
  • What Really Happened (1952)
  • When Dorinda Dances (1951)
  • One Night with Nora (1953)
  • She Woke to Darkness (1954)
  • Death Has Three Lives (1955) .. Buy this book
  • Stranger in Town (1955)
  • The Blonde Cried Murder (1956)
  • Weep for a Blonde (1957)
  • Shoot the Works (1957)
  • Murder and the Wanton Bride (1958)
  • Fit to Kill (1958)
  • Date with a Dead Man (1959)
  • Target: Michael Shayne (1959)
  • Die Like a Dog (1959)
  • Murder Takes No Holiday (1960)
  • Dolls are Deadly (1960)
  • The Homicidal Virgin (1960)
  • Killers from the Keys (1961)
  • Murder in Haste (1961)
  • The Careless Corpse (1961)
  • Pay-Off in Blood (1962)
  • Murder by Proxy (1962)
  • Never Kill a Client (1962)
  • Too Friendly, Too Dead (1962)
  • The Corpse that Never Was (1963)
  • The Body Came Back (1963)
  • A Redhead for Michael Shayne (1964)
  • Shoot to Kill (1964)
  • Michael Shayne's 50th Case (1964)
  • The Violent World of Michael Shayne (1965)
  • Nice Fillies Finish Last (1965)
  • Murder Spins the Wheel (1966)
  • Armed...Dangerous... (1966)
  • Mermaid on the Rocks (1967)
  • Guilty as Hell (1967)
  • So Lush, So Deadly (1968)
  • Violence is Golden (1968)
  • Lady, Be Bad (1969)
  • Six Seconds to Kill (1970)
  • Fourth Down to Death (1970)
  • Count Backwards to Zero (1971)
  • I Come to Kill You (1971)
  • Caught Dead (1972)
  • Kill All the Young Girls (1973)
  • Blue Murder (1973)
  • Last Seen Hitchhiking (1974)
  • At the Point of a .38 (1974)
  • Million Dollar Handle (1976)
  • Win Some, Lose Some (1976)


All published as by Brett Halliday

  • "Death Goes to the Post" (1943; also 1959, Murder in Miami)
  • "Bring Back a Corpse" (September, 1956, MSMM)

The very first issue.

  • "Not-Tonight-Danger (unknown; also 1992, The Armchair Detective)
  • "Weep for a Blonde, Part 1"(February 1957, MSMM)
  • "Weep for a Blonde, Part 2"(April 1957, MSMM)
  • "Weep for a Blonde, Part 3"(June 1957, MSMM)
  • "Target for Trouble" (March/April 1958, MSMM [Australian edition])
  • "Death Dives Deep" (January 1959, MSMM; by Robert Arthur; also 1961, Mike Shayne's Torrid Twelve)
  • "Target: Mike Shayne" (April 1959, MSMM; later expanded into novel of same name)
  • "Bullet for a Blonde" (March 1960, MSMM)
  • "Odds on Murder" (April 1960, MSMM)
  • "A Case for Michael Shayne" (May 1960, MSMM)
  • "The Debt of Death" (June 1960, MSMM)
  • "Murder on Jungle Key" (July 1960, MSMM)
  • "Blood of an Orange" (August 1960, MSMM)
  • "The Homicidal Virgin" (October 1960, MSMM; later expanded into novel of same name)
  • "The Friendly Corpse" (September 1962, MSMM; by Dennis Lynds; expanded into subsequent Shayne novel Too Friendly, Too Dead)
  • "The Guilty Bystander" (October 1962, MSMM)
  • "The Girl Cried Murder" (November 1962, MSMM)
  • "The Fourth Man" (February 1963, MSMM)
  • "Gallows Highway" (March 1963, MSMM)
  • "Death of a Dead Man" (June 1963, MSMM; by Dennis Lynds; also 1964, Mink is for a Minx)
  • ""The Body Came Back, Part 1" (December 1963, MSMM)
  • "The Body Came Back, Part 2" (January 1964, MSMM)
  • "The Milk Run Murder" (February 1964, MSMM)
  • "The Body Came Back, Part 3" (February 1964, MSMM)
  • "Drink Up--And Die!" (March 1964, MSMM)
  • "String of Pearls" (May 1965, MSMM)
  • "Inside Job" (June 1965, MSMM)
  • A Wild Young Corpse" (January 1970, MSMM)
  • "Twas the Night Before Murder" (February 1970, MSMM)
  • "Shadow of Fear" (January 1972, MSMM)
  • "Sweet Dreams--Of Death" (February 1972, MSMM)
  • "Danger--Michael Shayne at Work" (April 1972, MSMM; by Bill Pronzini and Jeff Wallman; their only Shayne story for MSMM)
  • "Kill Mike Shayne" (1972, MSMM Annual)
  • "The Harmless Killer" (February 1973, MSMM)
  • "Murder at Dondo Beach" (March 1973, MSMM)
  • "Short Cut to Murder" (September 1973, MSMM)
  • "Blue Murder" (October 1973, MSMM)
  • "A Perfect Woman to Murder" (May 1974, MSMM)
  • "Who Killed Baby Sister" (June 1974, MSMM)
  • "Death Rides The Black Market" (July 1974, MSMM)
  • "The Murder of a Ghost" (August 1974, MSMM)
  • "The Corpse That Walked Away" (March 1976, MSMM)
  • "Crime Without Punishment" (April 1976, MSMM)
  • "A Pattern for Terror" (April 1978, MSMM)
  • "Night of the White Hunter" (May 1978, MSMM)
  • "Diamonds Are Deadly" (January 1980, MSMM)
  • "Murder by the Bay" (February 1980, MSMM; by James M. Reasoner)
  • "Payoff in Blood" (March 1980, MSMM; by James M. Reasoner)
  • "The Golden Buddha Caper" (April 1980, MSMM; by James M. Reasoner)
  • "The Bedlam File" (May 1980, MSMM; by James M. Reasoner)
  • "Murder in Paradise" (June 1980, MSMM; by James M. Reasoner)
  • "Encore for Death" (July 1980, MSMM; by James M. Reasoner)
  • "The Viper Conspiracy" (August 1980, MSMM; by James M. Reasoner)
  • "Yesterday's Angel" (September 1980, MSMM; by James M. Reasoner & L. J. Washburn)
  • "Mayhem in the Magic City" (October 1980, MSMM; by James M. Reasoner & L. J. Washburn)
  • "Killer's Eve" (November 1980, MSMM; by James M. Reasoner)
  • "All the Faces of Fear" (December 1980, MSMM; by James M. Reasoner & L. J. Washburn)
  • "Black Lotus" (January 1981, MSMM; by James M. Reasoner)
  • "Odds on Death" (February 1981, MSMM; by James M. Reasoner)
  • "Three Strikes-You're Dead!" (March 1981, MSMM; by James M. Reasoner)
  • "The Stalker of Biscayne Bay" (May '1981, MSMM; by James M. Reasoner & L. J. Washburn)
  • "Byline for Murder" (June 1981, MSMM; by James M. Reasoner)
  • "Death from the Sky" (July 1981, MSMM)
  • "Killer's Cruise" (September 1981, MSMM; by James M. Reasoner)
  • "The Full Moon Means Murder" (October 1981, MSMM; by James M. Reasoner)
  • "A Cry in the Night" (November 1981, MSMM; by L. J. Washburn)
  • "Death in the Dailies" (December 1981, MSMM; by James M. Reasoner)
  • "Beautiful But Dead" (January 1982, MSMM; by James M. Reasoner)
  • "Doomsday Island" (February 1982, MSMM; by James M. Reasoner)
  • "Havoc in High Places" (March 1982, MSMM; by James M. Reasoner)
  • "Deadly Queen" (April 1982, MSMM; by James M. Reasoner)
  • "The Medici Casket" (May 1982, MSMM; by James M. Reasoner)
  • "The Assassination of Michael Shayne" (June 1982, MSMM; by James M. Reasoner)
  • "Book of the Dead" (July 1982, MSMM; by James M. Reasoner)
  • "Deadly Visitor" (August 1982, MSMM; by James M. Reasoner)
  • "Death in Texas" (September 1982, MSMM; by James M. Reasoner)
  • "Murder from Beyond the Grave" (October 1982, MSMM; by James M. Reasoner)
  • "Terror Resort" (November 1982, MSMM; by Hal Blythe & Charles Sweet)
  • "The Black Death" (December 1982, MSMM; by Hal Blythe & Charles Sweet)
  • "The Return of the Beach Butcher" (January 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "A Dirty Business" (February 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Search and Destroy" (March 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Shadow of Death" (April 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "The Hunting of Mike Shayne" (May1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Murder in Paradise" (June 1983, MSMM)
  • "Deadly Memories" (July 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Graven Image" (August 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Hellhole" (September 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Death Stalks the Campus" (October 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Death on Skull Mountain" (November 1983, MSMM; by Hal Blythe & Charles Sweet)
  • "Silent Death" (December 1983, MSMM)
  • "Dead Ringer" (January 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Sandcastles" (February 1984, MSMM)
  • "All in a Day's Work" (March 1984, MSMM; with "Mike Shayne"; by Tim Rourke)
  • "Yesterday's Hero" (May 1984, MSMM)
  • "Day of Revenge" (April 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Devil Dust and Death" (June 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Sharks" (July 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Shadows of the Past" (August 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Key of Death" (September 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Killing Time" (October 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Death Takes a Pilgrimage" (November 1984, MSMM; by Hal Blythe & Charles Sweet)
  • "Fishing for Murder" (December 1984, MSMM; by James M. Reasoner)
  • "Death Tops the Charts" (January 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "The Quick and the Dead" (February 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "Deadly Visions" (March 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "Thy Will Be Done" (May 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "The Sting of Death" (June 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "A Night in Hell" (July 1985, MSMM; by Hal Blythe & Charles Sweet)
  • "Wilde Weekend" (August 1985, MSMM; by Hal Blythe & Charles Sweet)


  • Dead Man's Diary and Dinner at Dupree's (1945)
  • Michael Shayne's Triple Mystery (1948)
  • Michael Shayne Takes Over (1941)... Buy the book

Omnibus edition collects first four novels.


12 stories by various writers, including Bruno Fisher, Harold Q. Masur, Frank Gruber, Brett Halliday, etc.

The first of several collections credited to "Mike Shayne." The full title of this one is "Mike Shayne Selects Ten Cases of 'Murder in Miami.'" Includes ten stories dated from 1935 to 1956. The Shayne story, "Death Goes to the Post," dates from 1943.

Paperback anthology of stories that originally appeared in MSMM, "selected" by Michael Shayne, including one Shayne tale.


    (1940, 20th Century Fox)
    77 minutes
    Based on by The Private Practice of Michael Shayne by Brett Halliday (see note below)
    Screenplay by Stanley Rauh and Manning O'Connor
    Directed by Eugene Forde
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring Marjorie Weaver, Joan Valerie, Walter Abel, Elizabeth Patterson, Donald MacBride

Adam Lounsbery writes: "I know that a lot of secondary material (and even experts in interviews) contradict me, but I read the first two Shayne mysteries recently and realized that this movie's plot was clearly taken from the novel The Private Practice of Michael Shayne, and not from Dividend on Death, which is generally credited as the source. For instance, the key plot point of switching pistol barrels to fool ballistics, the racetrack setting, and even the racehorse named Banjo Boy are all from Practice, not Dividend."
Still, regardless of the source, this film proved popular enough to spawn six follow-ups, and even now is pretty entertaining. A solid B, in all senses of the word.

  • SLEEPER'S WEST... Buy this DVD
    (1941, 20th Century Fox)
    Based on characters created by Brett Halliday and Sleeper's East by Frederick Nebel
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring Mary Beth Hughes, Lynn Bari

Based on Frederick Nebel's 1933 novel which had previously been filmed under its original title by Fox in 1934.

  • DRESSED TO KILL... Buy this DVD
    (1941, 20th Century Fox)
    Based on characters created by Brett Halliday and Death Takes No Bows by Richard Burke
    Screenplay by Stanley Rauh, Manning O'Connor
    Directed by Eugene Forde
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring William Demarest, Mary Beth Hughes

    (1941, 20th Century Fox)
    Based on characters created by Brett Halliday and an old pulp novel by Borden Chase
    Screenplay by Samuel G. Engel
    Directed by Herbert I. Leeds
    Starring Lloyd Nolan as MICHAEL SHAYNEAlso starring Mary Beth Hughes

    (1942, 20th Century Fox)
    65 minutes
    Based on characters created by Brett Halliday and No Coffin for the Corpse by Clayton Rawson
    Directed by Herbert I. Leeds
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring Marjorie Weaver, Helene Reynolds, Henry Wilcoxon

    (1942, 20th Century Fox)
    66 minutes
    Based on characters created by Brett Halliday
    Directed by Herbert I. Leeds
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring Marjorie Weavers, Phil Silvers, Janis Carter

  • TIME TO KILL... Buy this DVD
    (1942, 20th Century Fox)
    61 minutes
    Based on characters created by Brett Halliday and The High Window by Raymond Chandler
    Screenplay by Clarence Upsom Young
    Directed by Herbert I. Leeds
    Produced by Sol M. Wurtzel
    Starring Lloyd Nolan as MICHAEL SHAYNE
    Also starring Heather Angel, Doris Merrick, Ralph Byrd, Richard Lane, Sheila Bromley, Morris Ankrum

    (1946, PRC)
    64 minutes
    Based on characters created by Brett Halliday
    Screenplay by Fred Myton
    Directed by Sam Newfield
    Starring Hugh Beaumont as MICHAEL SHAYNE
    with Cheryl Walker as Phyllis Hamilton
    and Richard Keene as Tim Rourke
    Also starring Lyle Talbot, Pierre Watkin, George Meeker, Ralph Dunn, David Reed

The second film adaptation of a Chandler novel.

    (1946, PRC)
    Based on characters created by Brett Halliday
    Screenplay by Raymond Schrock
    Directed by Sam Newfield
    Starring Hugh Beaumont as MICHAEL SHAYNE
    with Cheryl Walker as Phyllis Hamilton
    Paul Bryar as Tim Rourke
    and Charles C. Wilson as Chief Will Gentry
    Also starring Ralph Dunn, Douglas Fowley, gordon Richards, Charles Quigley, Julia McMillan

    (aka "Blonde Barrage")
    (1946, PRC)
    Based on characters created by Brett Halliday
    Screenplay by Fred Myton
    Directed by Sam Newfield
    Starring Hugh Beaumont as MICHAEL SHAYNE
    with Kathryn Adams as Phyllis Hamilton
    aul Bryar as Tim Rourke
    and Charles C. Wilson as Chief Will Gentry
    Also starring Cy Kendall, Richard Fraser, Marjorie Hoshelle, Mauritz Hugo, Sonia Sorel

    (1947, PRC)
    Based on characters created by Brett Halliday
    Screenplay by Fred Myton
    Directed by Sam Newfield
    Starring Hugh Beaumont as MICHAEL SHAYNE
    with Cheryl Walker as Phyllis Hamilton
    and Paul Bryar as Tim Rourke
    Also starringRalph Dunn, Louise Currie, Gavid Gordon, Charles Quigley, Douglas Fowley

A fellow P.I.'s murder leads Mike to stolen bank loot and a possible conspiracy to steal plans for a secret weapon.

    (1947, PRC)
    Based on characters created by Brett Halliday
    Story by Brett Halliday
    Adapted by Fred Myton and Scott Darling
    Screenplay by John Sutherland
    Directed by William Beaudine
    Starring Hugh Beaumont as MICHAEL SHAYNE
    with Trudi Marshall as Phyllis Hamilton
    and Charles Mitchell as Tim Rourke
    Also starring Ralph Dunn, Claire Carleton, John Hamilton, Grandon Rhodes


    (AKA The Adventures of Michael Shayne)
    (1944-47, ABC)
    30-minute shows
    First broadcast: October 1944
    Last broadcast:November 1947
    Starring Wally Maher as MICHAEL SHAYNE

    (AKA The Adventures of Michael Shayne)
    (1944-47, ABC)
    30-minute shows
    First broadcast: October 1944
    Last broadcast:November 1947
    Starring Wally Maher as MICHAEL SHAYNE

    (AKA Michael Shayne, Detective)
    (1948-50, Mutual)
    30-minute shows
    Starring Jeff Chandler as MICHAEL SHAYNE
    (later replaced by Robert Sterling)
    Also starring Judith Parrish
  • "The Hunted Bride"
  • "Blood-Stained Pearl"
  • "The Mail-Order Murders"
  • "The Talhani's Tears"
  • "Deadly Dough"
  • "Popular Corpse"
  • "The Man Who Lived Forever"
  • "Hate That killed"
  • "The Gray-Eyed Blonde
    (1952-53, ABC)
    First broadcast: October 1952
    Last broadcast: July 1953
    Starring Donald Curtis as MICHAEL SHAYNE
    (later replaced by Robert Sterling)..


    Based on the 1945 novel by Brett Halliday
    Written by James Reach
    Suggested casting: 6 males, 5 females

A surprisingly hard-boiled adaptation, complete with stabbings, shootings and plenty of rock'em sock'em action.


    (1960-61, NBC)
    32 60-minute episodes, black and white
    Based on characters created by Brett Halliday
    Technical Consultant: Brett Halliday
    Writers: William Link, Richard Levinson
    Producer: Joseph Hoffman
    A Four Star Production
    Starring Richard Denning as MICHAEL SHAYNE
    with Patricia Donahue (later Margie Regan) as Lucy Hamilton
    Herbert Rudley as Lieutenant Will Gentry
    Jerry Paris as Tim Rourke
    and Gary Clarke as Dick Hamilton
    Also featuring Herbert Marshall, Julie London, Lynn Bari, Robert Lansing, Rita Moreno, Dick Shawn, Beverly Garland, Ross Martin, Burt Reynolds, Jack Albertson, Lurene Tuttle, Lola Albright, Ellen Burstyn, Donna Douglas, Paul Mazursky, Joyce Meadows, Victor Buono, Warren Oates, Herbert Rudley, Gary Clarke, Julie Adams, Richard Arlen, Beverly Garland, Joan Marshall, David White, Margie Regan, Robert Knapp, Gavin McLeod, Adam West, Ken Berry, Richard Arlen
  • "Dolls are Deadly (September 30, 1960)
  • "A Night with Nora" (October 7, 1960)
  • "Die Like a Dog" (October 14, 1960)
  • "Framed in Blood" (October 28, 1960)
  • "Call for Michael Shayne" (November 4, 1960)
  • "Shoot the Works" (November 11, 1960)
  • "This is It, Michael Shayne" (November 18, 1960)
  • "The Poison Pen Club" (November 25, 1960)
  • "Blood on Biscayne Bay" (December 2, 1960)
  • "Murder Plays Charades" (December 9, 1960)
  • "Murder and the Wanton Bride" (December 16, 1960)
  • "Death Selects the Winner" (December 23, 1960)
  • "Murder in Wonderland" (December 30, 1960)
  • "Man with a Cane" (January 6, 1961)
  • "Spotlight on a Corpse" (January 13, 1961)
  • "Murder Round My Wrist" (January 20, 1961)
  • "The Badge" (January 27, 1961)
  • "The Heiress" (February 3, 1961)
  • "Final Settlement" (February 10, 1961)
  • "Four Lethal Ladies" (February 17, 1961)
  • "The Ancient Art of Murder" (February 24, 1961)
  • "Murder at the Convention" (March 3, 1961)
  • "Strike Out" (March 10, 1961)
  • "Murder is a Fine Art" (March 17, 1961)
  • "The Body Beautiful" (March 24, 1961)
  • "Marriage Can Be Fatal" (March 31, 1961)
  • "The Boat Caper" (April 7, 1961)
  • "Date with Death" (April 14, 1961)
  • "The Trouble with Ernie" (April 21, 1961)
  • "No Shroud for Shayne" (May 5, 1961)
  • "It Takes a Heap O'Dyin'" (May 12, 1961)
  • "Dead Air" (May 19, 1961)

NOTE: Aiming to cash in on the release of the box set containg four of the Lloyd Nolan flicks, in January 2007 Critics' Choice offered up Michael Shayne Detective, Vol. One, a DVD set containing two episodes from the TV show.


  • MIKE SHAYNE, PRIVATE EYE (1961-62, Dell)
    3 issues
    Written by Ken Fitch
    Artists: Lee Ames, Edd Ashe

  • "The Private Practice of Michael Shayne" (November 1961-January 1962, #1)
  • "Bodies Are Where You Find Them" (February-April 1962, #2)
  • "Heads...You Lose" (September-November 1962, #3)


Looks like I'm not the only out there with a serious jones for the Man From Miami. John Samony's site just rocks the web. Bibliography, film, television, comics, radio, it's all here. He's also got the greatest collection of Mike Shayne cover art you've ever seen. Unfortunately, the site is currently inactive, although it's been archived. Check it out, ya lout!

Respectfully submitted by Kevin Burton Smith. Radio information contributed by Jack French, and comic info contributed by Don McGregor. And thanks for the "Gotcha!"'s fromJ. Ken MacDonald, Brendan Riley and Adam Lounsbery.


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