|Vintage Pulp||Oct 20 2017|
The Big Bet tells the story of a professional gambler and owner of a gaming parlor who faces three obstacles—his health is poor, his son is ashamed of him, and his wife is unhappy. Retirement and a move to Florida seem to be the answer to all three problems. Over the course of one night the protagonist Charley King sees two lucky gamblers whittle away his fortune in a card game, learns that a police raid and jail is imminent, and is served a legal summons. In mounting desperation he must win his fortune back and deal with the other problems—and quickly—if he has any hope of escaping to a better life. If that sounds compelling we can tell you it is. The book, which appeared in 1945 under the title Any Number Can Play, was made into a stage production, and subsequently into a 1949 film starring Clark Gable and Alexis Smith. The cover art on this 1948 Bantam edition was painted by Robert Doares.
|Vintage Pulp||Jul 24 2017|
Dead As a Dummy is a thriller set in the unlikely locale of Tucson, Arizona, where a premiere for a horror movie called The Invisible Zombie goes completely awry when it becomes the backdrop for three murders. The main character is Ben Logan. His job is kind of hard to describe. Basically, he works for a cinema chain, and he handles whatever needs to be handled. Think of him as a troubleshooter. He puts together a lobby display for The Invisible Zombie featuring a coffin with a mannequin corpse inside, only to find the set-up put to use by a clever killer. The main attraction here besides the plot is good southwestern flavor, something author Geoffrey Homes was adept at after previous forays in the same milieu. The cover art on this is generally credited to George Fullington, but that's one of those cases of the internet replicating an error. It happens. We've done it ourselves. The art is by Ray Johnson—says so right on the second page—and the copyright is 1949.
|Vintage Pulp||Jul 2 2017|
Ernest Hemingway is a polarizing writer, but those who call him overrated are wrong. You can't be overrated when you changed the DNA of prose in the English language. There was a style of popular writing that was dominant before Hemingway, and a style that became dominant afterward, with the shift entirely of his doing. The Sun Also Rises originally appeared in hardback in 1926, and this Bantam paperback edition is from 1949. The cover looks a hell of a lot like the work of Ed Paulsen, who painted this cover for Bantam in 1949 featuring a man with a near identical face. But officially, this was painted by Ken Riley, who was also working with Bantam in 1949. It's a pretty nice piece, establishing definitively three main characteristics of Hemingway's writing—booze, women, and anguish, with the latter deriving in this case from the ex-soldier protagonist having had his penis shot off or rendered non-functional, yet being in love with the beautiful Lady Brett Ashley. The problem is infinitely compounded by the fact that she loves him too, but must seek physical pleasures from other men. If you know any iconoclasts who've told you this book isn't worth your time, we suggest you ignore them. The Sun Also Rises is a tough, affecting, unforgettable read.
|Vintage Pulp||Jun 17 2017|
We have something a bit different today, a cover of Pete Martin's tinseltown tell-all Hollywood without Makeup. What you get here are tabloid style bios of various cinematic luminaries, including Greer Garson, Ava Gardner, and Maria Montez. The info on the stars probably makes this one worthwhile by itself, but as a bonus you get tabloid style writing in long form. It's a type of prose that isn't practiced anymore, but it can be quite entertaining to read. Here's an example:
|Vintage Pulp||Jun 16 2017|
The cover art for Bantam Books' paperback edition of Christine Weston's The Dark Wood is another good example of the pulpification of mid-century literature. This is a seriously phallic effort. The proximity of the woman's hands to crotchville is suggestive enough, but the penile shadow really leaves no doubt what the artist is thinking here. The original hardback art, which you also see, is more fitting for what the book really is—a psychological drama in the style of Daphne DuMaurier about a widow who meets a man that resembles her dead husband, and proceeds to try to turn that man into her lost love, with damaging results. The book debuted in 1946, and World War II and its aftereffects are central to the plot. The Bantam art, while nice, certainly gives a different impression. Just more proof of the power of provocative visuals. It's from 1949 and was painted by Ed Paulsen.
|Vintage Pulp||Jun 14 2017|
She was looking to get a shot on Broadway, not get shot, but you have to be 100% clear or people will get confused. Especially a guy like Waldo, the crazed mutiliation killer of David Alexander's Terror on Broadway. Waldo, who taunts the police with snide notes, has knocked off four women, all in the Broadway theatre district, and he has more in his sights unless hero Bart Hardin can stop him. Hardin isn't a private detective or cop—he's the editor of a newspaper, but he's tough enough for the task. Unrealistically so to us, though this is explained by his youth as a boxer and his stint in the military. Overall, Terror on Broadway is pretty heavy stuff for 1954, and the book was banned for a time in Australia. The art on this edition, though, is uncommonly pretty. It was painted by John McDermott, aka J.M. Ryan, who was an animator for Walt Disney before branching out into cover work. He later went on to write his own novels and make a couple of films, so the guy was multi-talented. We'll run into him again down the line, we're sure.
|Vintage Pulp||Mar 5 2017|
|Vintage Pulp | Politique Diabolique||Feb 18 2017|
We couldn't resist a comment on the recent election. Generally we keep Pulp Intl. a politics-lite zone, but every once in a while a book cover or movie pushes us in that direction, and today's has done that. Out here in the reality based world here's what the facts show: there haven't been even a hundred verified cases of voter impersonation in the U.S. since the year 2000, and of course impersonation is the only type of fraud the voter ID laws so many conservative lawmakers are pushing would prevent. So when a law is designed to stop a handful of lawbreakers (thirty-one in fifteen years according to one extensive study) at cost of the rights of millions of people, we can safely call these laws attempts to suppress the vote. At least, in the real world we can do that.
But the lies around voter impersonation continue to grow—we now hear of 3 million illegal votes cast in 2016, people bused from one state to another, etc. All of this taking place, of course, with no paper or digital trail, no sign of organization at any level, and for sure no suggestion that a single one of these alleged fraudsters voted Republican (Trump: “If you look at it they all voted for Hillary."). Meanwhile, absent actual evidence, the besmirching of the electoral system continues. It deserves to be besmirched, of course, but because of the ridiculous choices on offer, not because of fantasies of systemic fraud. Yet politicians cynically keep trying to generate mistrust. They're playing a dangerous game, and if they keep it up there will be serious consequences down the road.
That's our missive from the factual universe, to be heeded or ignored as you please. Stiffs Don't Vote has nothing to do with any of that, not directly, anyway. There's a crooked political campaign involved, but the story actually deals with an axe murder investigated by the heroes Humphrey Campbell and Oscar Morgan. The book was originally titled Forty Whacks, referencing the famed Lizzie Borden rhyme, and the murder in the story constantly makes the protagonists think of Borden. The copyright on this Bantam edition is 1947, and the unusual cover art was painted by Hy Rubin, who we've never featured before, but will again, if this is any indication of his talent. We'll see what we can dig up.
|Vintage Pulp||Oct 27 2016|
Elizabeth Daly fashioned herself as a U.S. version of Agatha Christie, writing the same kind of mysteries but setting them in New York City. We gather that she was even Christie's favorite mystery author, which is quite an accolade. Murder Listens In is seventh in Daly's Henry Gamadge series—the main character being a sleuth who writes mystery novels—and he's drawn into this puzzle by a crumpled note with his name and address on it found by a postman outside an Upper East Side mansion, and is soon dealing with a client who insists on anonymity to the point of throwing him notes out a window. Someone in this house filled with distant relatives and servants is in deep trouble, and Gamadge, with the help of his wife Clara and his sidekick Schenck, has to figure it out before someone (else) dies. Exceedingly well reviewed, and deservedly so. Originally published in 1944 as Arrow Pointing Nowhere, with this Bantam paperback appearing in 1949 graced by Harry Schaare cover art.
|Vintage Pulp||Oct 1 2016|
Written by The Gordons, who were the tandem of spouses Gordon Gordon and Mildred Gordon, FBI Story follows Agent John Ripley as he investigates the disappearance of a woman named Genie. She's wanted for theft by the FBI, and by the Los Angeles police as a person of interest in a murder case. Ripley finds that he and the missing woman have a lot in common, a fact revealed by his perusal of her bookshelf and diary. Is she really a criminal or just a desperate woman in deep trouble? As the investigation unfolds and the search spans the entire United States, we learn that other people are after her, including a millionaire American fascist who looks like Hitler and rants about the master race. Eventually Ripley uncovers jewel thievery, treason, and the mysterious Genie herself.