DWIGHT KEMPER FRAMED BORIS KARLOFF?
An Overview and Interview by Mark Morgan Jr.
Boris Karloff is a figure who certainly needs no introduction. As the man in the monster makeup from Universal Studio’s classic horror film ‘Frankenstein’, Karloff made a name for himself, and continued to play monsters, mummies, and mad scientists throughout the 30’s, 40’s, 50’s, and beyond. However, I wonder how many of us have heard of Dwight Kemper?
I first met Dwight many years ago in the darkest wilds of the internet. Already an accomplished playwright and film critic, Dwight had founded a fan fiction page based on a popular cartoon series called “The Powerpuff Girls”. It was a site where aspiring authors could submit stories for review. The established series gave each writer a familiar cast of characters to work from and unlike so many other fan fiction pages, which post stories at random, Dwight read each one and only the best efforts were allowed in his online library. This screening process taught each member what it was like to write under an editor, and through constructive criticism, he helped them identify their weaknesses and improve their strengths.
Almost five years have past since I first communicated with Dwight. He’s become a teacher and a friend, as well as one of my favorite writers. During this time, he’s added another credit to his name, with the publication of a mystery book entitled ‘Who Framed Boris Karloff?’.
The book takes place during the filming of “Son of Frankenstein”, which was the third installment of the Frankenstein series and the last with Boris as the monster. As the plot unfolds, Boris Karloff is framed for murder. The crime is quickly covered up by the studio producers, who don’t want to lose one of their premier stars. Boris realizes that the killer must have counted on that fact and framed him to cover his tracks. Now Boris is hot on the case; aided by fellow co-stars Bela Lugosi (of Dracula fame) and Basil Rathbone (famous for playing Sherlock Holmes). The book is a mix of comedy and suspense, with enough true Hollywood facts and scandals to satisfy even the most ravenous film buff.
The book was released last year by Midnight Marquee Press (http://www.midmar.com). Since that time Mr. Kemper has been busy and now he has two new books slated for release sometime in late 2008/early 2009. One is entitled ‘Bela Lugosi and The House of Doom’, and serves as a sequel to his first novel. The other is entitled ‘Bela Lugosi’s Final Curtain’ and it is a standalone project that centers on the death of Hollywood’s first, best Count Dracula.
I had the pleasure of interviewing Mr. Kemper last week and got a chance to talk to him about these three books as well as another upcoming project that will be mentioned later on. I hope you enjoy this talk as much as I did.
Mark: Good Morning, Dwight.
Dwight: Hello, Mark.
Mark: I think I’d like to start off with a straightforward question. What gave you the idea for “Who Framed Boris Karloff”?
Dwight: What gave me the idea was the same photograph I have in the first chapter of my book; a picture of Boris Karloff in full monster makeup, cutting a birthday cake on the set of ‘Son of Frankenstein’. Some people might have looked at that and said, “Oh very cute. Boris Karloff in a monster costume and Bela Lugosi as Ygor, and Basil Rathbone and the director and they’re having a little party on the set of ‘Son of Frankenstein.’” But to me, it looked like something very awful had happened on that set. They’re about to discover something. No, this is just the calm before the storm. So that got my twisted imagination going and thinking about somebody being murdered on the set and Boris being blamed for the crime. As for the format of taking real people and putting them into a mystery setting, there were actually a bunch of books published back in the forties by MGM and they took their starlets, people like Judy Garland and Alice Faye put them in these, not murder mystery, but mystery books similar to the Nancy Drew books. There was something like “Alice Faye and The Case of The Haunted Stair Case” and others titles like that. So I decided to take that idea and put it into a murder mystery setting. As an old Hollywood nut, I tried to get as many real people into a fictional story as I could.
Mark: You’ve actually answered my next question. I was going to ask you why you chose Boris Karloff, Bela Lugosi, and Basil Rathbone in particular, but the photograph was your main inspiration for that cast, I would assume.
Dwight: Oh yes, because what’s great is that it not only gave me the people, it also gave me the setting. And when you have the setting, you have your time period and you have your suspects and it pretty much writes itself almost. All you have to do is find a publisher who’ll go along with it. The only problem that I faced is that ‘Son of Frankenstein’ is not that well documented as far as production notes. I tried to get them from the UCLA film library and I got no response. The only source material I had was watching the DVD a hundred times and studying every single frame of it, trying to figure our where would this be, where would that be. There’s also a book by Gregory William Mink. It’s part of the Universal Film Scripts series, concerning ‘Son of Frankenstein’. It has the script that was abandoned as well as different production photographs, little articles and things like that. So that was really the only source that I had for writing my book.
Mark: Let me ask you about Sara Karloff. I know that she wrote the introduction to the book and she really seemed to like the novel. I know Bela Lugosi has a son who’s still living. Did you make any effort to contact him and let him look over your material?
Dwight Kemper and Sara Karloff
Dwight: Sara was the one I contacted, because I already knew her. We had actually met on the internet. She has a site called Karloff.com. It’s a place where you can find Boris Karloff merchandise, and if you have an idea for merchandising and so forth you can contact Karloff Enterprises to discuss it. I had a tape that someone gave me; in fact it was one of our Powerpuff Girl associates, Rhodescholar. (Rhodescholar is the pen name of a fan fiction writer who is a member of Dwight’s fan fiction page) She had sent me a tape of both the Jack Benny and Spike Jones radio shows where Boris Karloff was a guest and I noticed on a list of radio shows that were on Sara Karloff’s website, they didn’t have these episodes on them. So I contacted her and said I have these radio shows on tape and I’ll make you a copy. She asked how much I wanted for them and I said, “Well I don’t want anything for them. First of all it’s just a copy that someone gave to me. It’s just a copy of a copy and I have no property ownership of them. And secondly your father gave me so much entertainment over the years, as far as I’m concern it’s paid in full.” I gave Sara Karloff the tape and she sent me a thank you card and then we started corresponding and then I had this idea for the book. I wrote to her and I told her what my idea was, and she got really enthusiastic about it, and the next thing I knew I started writing it and sending her chapters Sara was sort of convalescing at the time because she had just had gallbladder surgery, and she was laid up. It was sort of a way to keep her entertained, and while she read my chapters, she would give me feedback about anything that went on at the time that she was told about, and she helped me with her Dad’s character. For instance, there’s a scene where Boris is puttering in his garden and he’s kind of preoccupied because of the problems in the book. But when I originally wrote it he was extremely angry, but Sara told me that he wouldn’t really be angry, because he tended to brood. So I rewrote it to reflect that. Her input made the book more realistic. And she also told me something I didn’t know, that her mother was actually laid up in the hospital for one or two weeks with an infection after giving birth and that became an important plot point of the book, and also brought in Hollywood Presbyterian Hospital which is where Sara’s mother, Dorothy Karloff would actually be at this time.
Mark: Where did you get your research material for personality information? You’ve told me where you got your feedback on Boris, but what about Basil Rathbone and Bela Lugosi? Where did you go to get an idea of what they were like and how they would react?
Dwight: Bela Lugosi has filmed interviews, some very early interviews that showed up as extras on some DVDs of his movies. These were from 1932 or 1933. Then there are several that were filmed in his later life. These along with a number of biographies which I mention at the end of the book, are the source material for his personality. I don’t know if he was really as sarcastic or as quick with a comeback as I made him, but he seemed to want to be that way, and he became my favorite character.
Mark: He was actually my favorite character too. I loved the fact that you made him as gutsy as he was.
Dwight: He was a very proud man and I wanted to show that and do it in a way that would be very ‘Old World’. According to several of his ex-wives, he was very controlling and domineering, so I figured he would be that way if the situation called for it.
Mark: I want to ask you one more question before we go on to Rathbone. In the book you made Lugosi sort of a lecher. Were there any famous affairs or scandals where any of his marriages were concerned?
Dwight: Oh yes! Oh my god, yes. As a matter of fact, as I mentioned in the book he had a big painting of a nude Clara Bow on his wall that Clara had posed for and had presented to him. One of the actors from the stage play “Dracula” said that Bela came into his dressing room, took off his shirt, and showed him all the bite marks on his back, and he would say, “They’re from Clara.” So, Clara Bow was his big hot number. Then there was a recollection by one of the young ladies who worked with him, you can see her interview on the DVD “Lugosi: Hollywood’s Dracula,” when Bela was with the Road Company production of “Arsenic and Old Lace.” She said that she was getting into her costume and at one point she could feel Bela Lugosi’s lips on her back, and he said to her, “I would like you to tour with me, but of course, you would have to be my baby.” He was quite a character. There were a number of affairs that he had had. In fact, one of his female co-stars from the stage version of “Dracula” said that he hugged her so hard that he broke her ribs.
Mark: Wow. We can move on to Basil Rathbone now? Where did you get your information for his personality and moods?
Dwight: Basil Rathbone has an autobiography called “In and Out of Character” and that was my key source of information. In some ways, in order to make him more Sherlockian, I sort of glossed over the fact that in his later life he actually became quite superstitious and believe in psychic phenomena. The next book I’ll be working on, “Basil Rathbone and the Curse of Conan Doyle,” will actually touch on that more. Aside from “In And Out Of Character” there are some DVD extras in “Robin Hood” where he played Sir Guy of Gisborne. It shows some behind-the-scene stuff where he seems very serious. There’s actually one point where he’s trying on different helmets for a costume change and looking rather vexed while he’s doing it. I derived some of his character from the behind the scenes shots.
Mark: I know from things that I’ve read that he later came to regret his association with the Sherlock Holmes movies. Is any of that going to factor into the “Curse of Conan Doyle”?
Dwight: Oh yeah. That’s why it’s called the curse of Conan Doyle, because he considers there’s something of a curse in it. It’s going to take place during a disastrous attempt to bring Sherlock Holmes to the stage. Basil actually did a stage production of Sherlock Holmes that his wife wrote with the assistance of the Conan Doyle estate and Adrian Conan Doyle, the son of Arthur Conan Doyle. By the way, I didn’t know this, but apparently Basil Rathbone’s father and Sir Arthur Conan Doyle actually fought together and knew each other in the service. So you never know about these things. Maybe they were destined to be entwined in one way or another.
Mark: I’m a huge Holmes fan. I’ve read every single short story, novel or essay I can get my hands on from Conan Doyle concerning Holmes. There are times, particularly at the end of the book when Rathbone is racing through Billie Bennett’s brothel in hunt of the killer that I really got this Sherlockian thrill, where you could see that character taking over. Was that intentional or was that something that just happened?
Dwight: It was intentional because at the time of the book, he’s only just played Sherlock Holmes the one time, in the “Hound of the Baskervilles”. And he had just finished it. So it would have been very fresh in his mind and it would not have been something that he had grown tired of. So as an actor in a situation where he has to perform as a real detective, the character of Sherlock Holmes would naturally be what Basil would draw upon.
Mark: Moving on to a somewhat more technical question, Frank Dietz painted the cover for your book. I understand he’s something of a name where covers are concerned. Were you familiar with his work prior to the novel?
Dwight: Yes, I was. I have visited his website many times and drooled over his paintings. I wanted to get one, one day. Now I have one and it’s my book cover. How he came to be involved happened through my publisher and through the Monster Kids Message Board on yuku. When we did the press release for the book, Frank Dietz, a member of the Monster Kids Message Board, said, “Gee, I’d like to do a book cover for or illustrate something like that.” So my publisher got in touch with him. Next thing you know, Frank Dietz is doing the cover of ‘Who Framed Boris Karloff?’.
Mark: He’ll also be doing the cover for your forthcoming release, “Bela Lugosi and the House of Doom” correct?
Dwight: Yes he will. He’s busy working on a movie right now, but he assures me that the cover is going to be something I’ll really be crazy about. As it happens, the book takes place during the shooting of “Bud Abbott and Lou Costello Meet Frankenstein”, and that is one of his favorite movies. It seems to be a perfect blending of cover artist and story.
Mark: Let’s talk a little bit about the photographs in ‘Who Framed Boris Karloff?’. Where did they come from? There are some wonderful, wonderful pictures scattered all throughout your book.
Dwight: Those were made by Susan Svehla, and basically what they are, are Photoshop photo collages. Some of them are real pictures, like the photo of Boris in his monster makeup cutting the birthday cake, but others are complete constructs. What we’re doing with the next book, there’s an artists who’s supposed to be illustrating it.
Mark: I’m assuming your title was inspired by “Who Framed Roger Rabbit?” Was that meant as an homage to the movie or the book?
Dwight: Well, the book was called “Who Censored Roger Rabbit?”.
Mark: That’s correct. I’m sorry, I forgot about that.
Dwight: Which I’ve read, by the way. The reason that the title came about, originally “Who Framed Boris Karloff?” started out as a Halloween murder mystery show at the Sherwood Inn. It was being done through Broome Community College and in the college catalogue I wanted a really catchy title. It seemed best to name it something pun-inspired like “Who Framed Boris Karloff?” (So, the short answer is, yes, it’s a play on the Roger Rabbit movie title). When it came time to convert it from a 90 minute crime scene murder mystery to a novel, the two stories were completely different The only thing that remained was the fact that Boris Karloff was the murder suspect. I told my publisher, “It’s kind of a joke title. Do you still want it, or do you want me to come up with something else?” He said, “No, ‘Who Framed Boris Karloff?’ sounds great.”
Dwight Kemper at a book signing with graphic novelist Geoff Grogan
Mark: Let’s talk about your next book. You’ve written two books about Bela Lugosi, which are “Bela Lugosi and the House of Doom” and “Bela Lugosi’s Final Curtain”. Are they both still scheduled to come out some time in the next year?
Dwight: Yes. In fact, I’m sitting here, right now, with a box that contains the manuscript to “Bela Lugosi’s Final Curtain”. I’ll tell you how this happened. I wrote “Who Framed Boris Karloff?” and then I started working on “Final Curtain”, which when I first wrote it was titled “Dead Wood”, which was again based on a mystery play that I did for Halloween. It took place at Bela Lugosi’s funeral and I called it “Dead Wood” because he had been working with Ed Wood at the time. “Dead Wood” for a murdered Ed Wood, it just seemed like a funny title. Unfortunately since then, HBO started a series that was also called Deadwood, so I had to change it. Anyway, I was writing “Final Curtain” as a standalone book because I had no idea if “Who Framed Boris Karloff?” would ever be published. It was still a manuscript collecting rejection slips that my former literary agent was shopping around. Since then, I’ve added hints in “Final Curtain” that allude to things that keep continuity without outright mentioning incidents from the other books, mostly so I don’t write myself into a corner when it comes time to begin work on “Curse of Conan Doyle.”
Mark: There’s a story I’ve heard about Lugosi’s funeral. I was wondering if you included it in your book. Lugosi had requested to be buried in his Dracula cape, and apparently, Peter Lorre and Vincent Price were in the crowd at the funeral. When they approached the coffin, Peter leaned over to Vincent and said, “Hey, Vincent. Do you think we should drive a stake through his heart, just to be sure?”
Dwight: I’ve heard that story. It gets retold a variety of different ways. In one scenario it’s Boris Karloff and Vincent Price or it’s Peter Lorre and Boris Karloff, or it’s Peter and Vincent or it’s all three of them together. It never happened. I do mention it in my book. If you’d like, I can read you the passage.
Mark: Really? That would be great!
Dwight: This is from Chapter 17 and it starts with, “The Curtain rose at 1:30 pm. A long line formed down the street as mourners arrived for the final viewing hours. A popular anecdote claimed that Boris Karloff had attended a showing with fellow boogeyman Peter Lorre. As they passed Lugosi’s body, Lorre was said to have joked, ‘Come on now, Bela. You’re putting us on.’ Actually neither Mr. Karloff nor Mr. Lorre was in attendance, which was a pity because they missed a hell of a show.” So that’s how I actually allude to that.
Mark: As I understand it, the story in “Final Curtain” is being told by Criswell, the television psychic, who was, among other things, famous for appearing in Ed Wood’s films. Most notably, he was the narrator in ‘Plan Nine from Outer Space’.
Dwight: Criswell, full name Charles Criswell King, is in fact the detective in this story with Forrest J Ackerman, who at the time was a literary agent, but later became the publisher of “Famous Monsters of Film Land” magazine. He’s in it and so is Ray Bradbury.
Mark: Really! Bradbury, too?
Dwight: It’s because Bradbury and Ackerman were buddies and they hung out together, so it only seemed natural that Ray Bradbury would be in my book too. There are a lot of people from Ed Wood’s collection of friends, plus Lugosi’s family and his ex-wife who was the widow at the time. This book basically takes all of the legends and myths and facts and puts them all into a blender and then puts a murder mystery in it as well. So everything that’s become folklore about the funeral, including that the funeral procession inexplicably detoured by way of Hollywood and Vine, which was in the opposite direction of where they had to go for the burial, is made part of the plot and in my book there’s actually a reason for it. That’s in “Bela Lugosi’s Final Curtain”. Now, talking about my other book, “Bela Lugosi and The House of Doom,” it’s going to be a lot more accurate. Whereas before with “Who Framed Boris Karloff?” I did not have a lot of background information to work with except for a couple of books, this time I had access to all of Universal Studios production reports, thanks to Bob Furmanek and Ron Palumbo, who were the authors of “Abbott and Costello In Hollywood”. They heard about my book, again through the Monster Kids Message Board, and Bob Furmanek invited me to his house and he let me have a look at all of his files as well as seeing raw footage from all of the outtakes from “Abbott and Costello Meet Frankenstein” and he let me flip through all of his still photos and things like that. So this book is going to be as bulletproof and authentic as humanly, conceivably possible. Ron Palumbo was able to get me production reports so that I would know exactly who was late on what day, at what time, and how many takes they did, and what the take numbers were, and what stages were used for what sets at what time. It was great! They gave me so much information that now my publisher thinks maybe I’ve got too many facts crowded in the story.
Mark: There’s no such thing as too many facts for a film buff, I mean come on.
Dwight: I know. They’re reading it now, and I’ve got things like street names for the studio, which I could only allude to before, but now I’ve found maps to the old Universal Studios which by the way, if you use new Universal Studios maps they have no bearing on old Universal Studios maps. The place has been rebuilt several times. Only the very first few buildings and stages on the lot are from the old days, and all the stages have since been renumbered. But an article that Ron gave me, one he had written for the A & C Fan Club Newsletter, gave me all the pertinent details about that. This book is as authentic as its going to get.
Mark: This is my biggest question concerning your book. Unlike “Bela Lugosi’s Final Curtain” which is a standalone, ‘House Of Doom’ is the sequel to “Who Framed Boris Karloff?”. I know that Lugosi will be back, I mean obviously his name is in the title, but will we see Basil Rathbone and Boris Karloff in this one, as well?
Dwight: Yes, but the situation is going to be that Boris Karloff and Basil Rathbone are up to something, but they won’t let Bela in on it. Which tee’s off Bela Lugosi incredibly, and causes him to investigate what they are trying to keep from him, which involves all manner of things including kidnapping, murder, and espionage. It’s going to be quite a juicy mystery for Bela Lugosi to solve, with Lou Costello as his Watson.
Mark: If Lou Costello is a main player, I’m not only going to buy it, I’m probably going to buy two or three copies.
Dwight: Lou Costello is a main player. So’s Bud Abbott. Much of the information I uncovered on them is not only from years of watching Abbott and Costello stuff, but I had to actually get to know the real Abbott and Costello. So watching documentaries and reading books helped me; particularly “Lou’s On First” by Chris Costello which gives you a very intimate portrait of Lou Costello. I had this problem of balancing the real Lou Costello with his comedy persona. The comedy persona that you see on screen and the comedy persona that you see in outtakes, because despite what people have said to the contrary, Lou could get very crass if he wanted to. In several takes he’s obviously trying to do and say things to shock his female co-stars. At the time this book is taking place, I also had to deal with the real life tragedy of the drowning of Lou Costello’s only son, Butch. This was a very delicate thing to do, but my publisher thinks that the scenes that I’ve written involving the discussion of Butch are some of the best work I’ve ever done.
Mark: That’s a very high compliment. I’m a huge fan of yours, going back to your fan fictions on the Powerpuff Girls Fan Fic Page. Particularly the story ‘Bubble Duty’, which was both a Superman crossover and tribute to Christopher Reeve. It was very respectful of him and very well written, and as it turned out, very funny at the same time.
Dwight: Thank you. That was one of the ones that just sort of flowed out of me. In regard to “House of Doom”, my publisher says that I’ve obviously improved with my skills as a novelist, hopefully not implying that my first novel was crap. He said that my characterizations in this novel were some of the most spot on characterizations that he’s ever seen. He particularly likes what I’ve done with Bela Lugosi. At this time, Bela is in the throes of his addiction to morphine, his marriage is kind of shaky, he’s having tantrums on the set, and he’s also very weary of the outbreaks of pie fights and seltzer fights that are likely to happen on an Abbott and Costello picture. For fans of “Abbott and Costello Meet Frankenstein” the opening scene of Chapter One in “House of Doom” takes place during the filming of one of my favorite bloopers. Bela Lugosi is coming down a staircase, and he’s supposed to be saying “How careless. You should be careful. A person could get killed that way.” And as he’s saying this line, a figure is skulking behind him in a cape and a Mr. Hyde mask. It’s comic Bobby Barber. As it turned out from my research, this was the first take after Bela Lugosi was an hour late getting to the studio. After having an hour of rehearsal, this was the first take and it really upset him and there were like seven or eight takes after this and it kind of threw him off and apparently it took quiet a while to get this one simple shot. While Bela was an hour late on this day, two of his co-stars, Lenore Aubert and Jane Randolph, were half an hour late, and in this book I have an explanation for why they were late.
A Sample Scene Depiction by the Author
Mark: One of the best features in “Who Framed Boris Karloff?”, in my mind at least, was “A Good Cast Is Worth Repeating or Separating Fact From Fiction” which was the appendix you had in the back, where you told the reader what was real and what was just made up for the novel. Will we have something similar to that in “House of Doom”?
Dwight: Yes, it will be called, “Who’s On First: Separating Fact from Fiction on the Way to Third Base”.
Mark: I’m assuming Boris Karloff and Basil Rathbone won’t play as big a part in the sequel as they did in your first book. Is that a good assumption or am I way off?
Dwight: As it’s written right now, they’re kind of background characters. If my publisher wants me to bring them to the fore, I’ll have to write some chapters to show what they’re doing. I’d like to keep them in the background, because I think it’s better if you discover what’s really going on along with Bela Lugosi. It really depends on what my publisher wants to do. (NOTE: Since this interview, the publisher has decided to leave things as is). The whole gist of my idea is, what if you had a James Bond story, but not from James Bond’s point of view. Bela’s looking for his kidnapped wife and son and keeps coming across other things which lead to a very Bondian style climax.
Mark: Is there anything else you can tell me about the book?
Dwight: I will also say this. In “Bela Lugosi and the House of Doom”, we are going to meet a member of Boris Karloff’s family. In fact, the research for this was provided to me by a chap named Stephen Jacobs who has a book coming out called, “Boris Karloff: More Than a Monster”. It’s going to be put out by Tomahawk Press. He’s doing a biography of Boris Karloff, including all six of his brothers. He gave me a lot of research material about some of Boris Karloff’s brothers in the consul service; which will figure prominently in this upcoming story.
Mark: I really just have one more question: I know this is several years in the future, but when we finally get the third installment of your series, “Basil Rathbone and The Curse of Conan Doyle” will we actually see Karloff and Lugosi in that novel or will you go into a completely different cast?
Dwight: I definitely know Lugosi’s going to be in it. This is still in the very early stages. You know sometimes you have a book and you don’t have a title, and sometimes you have a title and you don’t have a book? At first, I had a really cool title and a vague idea. I now have a very solid idea of what that book is about. Right now I know definitely that Basil Rathbone and Bela Lugosi are going to be involved in it. I don’t know about Boris Karloff. Maybe, but I’m not sure. I really like the antagonism that Bela and Basil seem to have for each other that figures prominently in “Bela Lugosi and the House of Doom”. I have different ideas for scenes and I don’t know if I’ll use them in “The Curse of Conan Doyle” or another book. I have this vision of an opening scene that takes place at Holy Cross Cemetery where an aged Boris Karloff and an aged Basil Rathbone have been asked to open a letter at the grave of Bela Lugosi. I don’t know if I’m going to use it in “Curse of Conan Doyle” or not. I’m not really sure yet.
Mark: Dwight, I want to thank you for talking with me today. You’ve given me some great tidbits about your upcoming projects and I look forward to reading them in the future.
For those interested, ‘Who Framed Boris Karloff?” can be purchased at:
http://midmar.com/fiction.html
Dwight Kemper’s fanfic page is located at:
http://groups.yahoo.com/group/thepowerpuffgirlsfanficpage
The Monster Kids Message Board can be accessed at:
http://monsterkidclassichorrorforum.yuku.com/
And please feel free to visit Karloff.com at, well, where else?
And once again, Stephen Jacobs book “Boris Karloff: More Than A Monster” can be found at:
http://www.tomahawkpress.com/karloff.html
Dwight Kemper is a mystery writer, critic, and playwright living in New York.
