"I win thirty-six dollars off James Packrat, the Yaqui that tends stable for Dick Sparling," Sammy said, paying no attention to Nemo, "Then I win his horse, that fine little pinto mare he sets such a store by. Then I win his wife's sewing machine, and four dollars she had buried in the sand. Then James didn't have no more to lose, see? And when he went to turn over the stuff to me, he cried with his arms around that pinto's neck, dogged if he didn't. So I said, go bring me some kind of a horse and he could have the pinto back. So he brought me this one. Ain't he a card?"
For Sammy's two companions this is debatable proof that he's going loco, but to me his little digression seems to anticipate the much more digressive style employed in crime fiction by George V. Higgins and Elmore Leonard, in which seemingly irrelevant narrative serves to set a mood or create tension as the reader begins to wonder when something will actually happen. In "Posse Bait" Sammy's rambling escalates the tension as Nemo, the villain, grows increasingly impatient with it and the hero by default, Red, wonders whether Sammy is going crazy or not. It's a nicely organic way to pad out a short story and it gives Carpenter's story an unexpectedly modern touch. I'm still working my way through this particular issue, and I still have stuff from tophand writers like H. A. DeRosso and Les Savage Jr. yet to read in it, but this little story from a relatively unknown author sets a pretty decent standard for the rest of the contributors.