Vintage Pulp Mar 8 2018
Hallucinatory southwestern noir takes readers to a land of saints and sinners.

It's said that a good book teaches you how to read it. The author instructs while building the story. Dorothy B. Hughes' 1946 crime novel Ride the Pink Horse, which was the source material for the 1947 film noir starring Robert Montgomery, falls into that category. In the story a man wanders around the southwestern U.S. town of Santa Fe, New Mexico, searching for someone he calls the Sen, which is short for the Senator. We suspect the shortening of his title is designed to make it a heterograph with “sin,” because this Illinois senator-turned-crime boss rather sinfully hired out the murder of his wife then shorted the murderer part of his fee. That's why the main character, named Sailor, is adrift in this town. He's followed the Sen there from Chicago to get his money. He plans to find him, confront him, collect payment, then scurry away to Mexico.

But this comes out in trickles. Initially Sailor merely criss-crosses the town, unable to find a hotel room because it's fiesta weekend, with crowds everywhere and processions filling the streets. He sleeps under the canopy of a merry-go-round which features a pink horse. As he keeps going in circles around town more characters emerge—the cop who's trying to solve murder of the senator's wife, the carousel owner who appeals to Sailor's sense of honor, the girl who recalls an innocence he can barely remember, and the beautiful Iris Towers, the focus of his wishes for a better life.

Hughes loves symbolic names: there's the Sen, as we already mentioned; there's Iris Towers, dressed in ivory colors and pale of skin; and there's the girl Pila, whose name is the Spanish word for a laundry trough, a place of cleansing. The book is composed of encounters rather than events, hallucinatory meanderings punctuated by tense verbal standoffs. Each tête-à-tête clarifies matters a bit more for the reader. Did Sailor really kill the Sen's wife? Did he ever intend to? Was she ever to be the actual target? Were others involved?

When Sailor goes from seeing the town's Mexican and Native American inhabitants as something other than sub-human, maybe, we think, he isn't irredeemable. But even if he grows in some ways his hatred continues to drive him. He thinks the Sen is vermin. He wonders how such an abomination can even walk upon the Earth. When he follows the Sen into the cathedral this thought passes through his mind: He didn’t know why the dim perfumed cathedral didn’t belch the Sen out of its holy portals.

Hughes is a good writer, a unique stylist, and she gives Ride the Pink Horse the disorienting feeling of taking place in purgatory. It's a fever dream, an acid trip across a constantly shifting landscape, literary rather than pulp in approach, as much Faulkner as it is Chandler, with nothing quite solid or real apart from Sailor's hatred, which is so intense it seems as if it will consume him and leave nothing behind but a cinder. Sailor's racism is appalling, but he's not supposed to be a good man. This town filled with people that frighten and confuse him could be his salvation or his doom. He's the one who has to decide whether to step back from the precipice. Every wise character sees that he's headed for destruction. But the future isn't set. He has a chance for redemption—small, but real. Top marks for this one.


Vintage Pulp Dec 4 2016
Caught between the dark and a hard place.

This 1949 Pocket Books paperback of In a Lonely Place by Dorothy Hughes is a rarity. The novel is abundantly available today, but the first edition paperback you see above is hard to find. The story was made into a 1950 movie starring Humphrey Bogart and Gloria Grahame, but the final product bears little resemblance to the novel. Actually, the movie is a lesson in how source material can be completely cannibalized yet still made into a superior product. In a Lonely Place the movie, after all, is considered one of the best of the mid-century noirs. We said the same about it last year. But unlike the film, Hughes' novel leaves no doubt that main character Dixon Steele is a murderer. In fact, it's the central plot device—he kills a wealthy man and assumes his identity. The novel is said to be an inspiration for Patricia Highsmith's famed murderous grifter Tom Ripley. The nice art on In a Lonely Place was painted by Frank McCarthy, a prolific illustrator of paperbacks and magazine covers who toward the end of his career moved into fine art with frontier and western themes. We haven't featured him before but he'll doubtless pop up again. 


Vintage Pulp Jul 17 2015
Vintage paperback violence gets up close and personal.

We have another collection today as we prepare to jet away on vacation with the girls. Since the place we’re going is known for rowdy British tourists (what place isn’t known for that?), we thought we’d feature some of the numerous paperback covers featuring fights. You’ll notice, as with our last collection, the preponderance of French books. Parisian publishers loved this theme. The difference, as opposed to American publishers, is that you almost never saw women actually being hit on French covers (we’d almost go so far as to say it never happened, but we’ve obviously not seen every French paperback ever printed). The French preferred man-on-man violence, and when women were involved, they were either acquitting themselves nicely, or often winning via the use of sharp or blunt instruments.

Violence against women is and has always been a serious problem in the real world, but we’re just looking at products of the imagination here, which themselves represent products of the imagination known as fiction. Content-wise, mid-century authors generally frowned upon violence toward women even if they wrote it into their novels. Conversely, the cover art, stripped of literary context, seemed to glorify it. Since cover art is designed to entice readers, there’s a valid discussion here about why anti-woman violence was deemed attractive on mid-century paperback fronts, and whether its disappearance indicates an understanding of its wrongness, or merely a cynical realization that it can no longer be shown without consequences. We have another fighting cover here, and you may also want to check out our western brawls here.


Vintage Pulp Jan 7 2014
Never trust a man in expensive clothes.

The Pulp Intl. girlfriends want more depictions of men on the site. Can we oblige them? Probably not. Vintage paperback art features women about ninety percent of the time, and they’re often scantily clothed. Men, on the occasions they appear, are not only typically dressed head to toe, but are often sartorially splendid. There are exceptions—beach-themed covers, bedroom depictions, gay fiction, and romances often feature stripped down dudes. We’ll assemble some collections of all those going forward, but today the best we can offer is an assortment of g’d up alpha males, with art by Victor Kalin, Robert McGinnis, and others. Enjoy.


Vintage Pulp Apr 25 2012
Nowhere to run, nowhere to hide.

Above is the cover of Rufus King's 1945 mystery The Deadly Dove, which isn't a particularly notable book, except that it demonstrates one of the time-honored motifs in pulp cover art—the woman fighting for her life. We've cobbled together a small collection of such covers, with art by Robert Hilbert, Robert Stanley, and others. We're curious, but unfortunately have no way of knowing, how readers reacted to these depictions when they first hit newsstands. There are probably some examinations of that question out there somewhere, but not in a place where we can find them. To our contemporary eyes, though, some of these images seem brutal to the extent that if someone actually saw us holding one in a store, we'd be like, "Oh this? Not mine. No, no, no. Found this uh, on the floor and was just, er, putting it back on the shelf. No, I was actually buying this copy of Genital Warts and U." Okay, maybe that's a bit of an overstatement. You get the point, though. But violent or not, there's no denying the artistry on display on these covers. Thanks to various Flickr groups for some of these, by the way. In other news, that long delayed internet installation is so close we can almost taste it. How much you wanna bet it all fails spectacularly?


History Rewind
The headlines that mattered yesteryear.
March 23
2011—Elizabeth Taylor Dies
American actress Elizabeth Taylor, whose career began at age 12 when she starred in National Velvet, and who would eventually be nominated for five Academy Awards as best actress and win for Butterfield 8 and Who's Afraid of Virginia Woolf?, dies of congestive heart failure in Los Angeles. During her life she had been hospitalized more than 70 times.
March 22
1963—Profumo Denies Affair
In England, the Secretary of State for War, John Profumo, denies any impropriety with showgirl Christine Keeler and threatens to sue anyone repeating the allegations. The accusations involve not just infidelity, but the possibility acquaintances of Keeler might be trying to ply Profumo for nuclear secrets. In June, Profumo finally resigns from the government after confessing his sexual involvement with Keeler and admitting he lied to parliament.
1978—Karl Wallenda Falls to His Death
World famous German daredevil and high-wire walker Karl Wallenda, founder of the acrobatic troupe The Flying Wallendas, falls to his death attempting to walk on a cable strung between the two towers of the Condado Plaza Hotel in San Juan, Puerto Rico. Wallenda is seventy-three years old at the time, but it is a 30 mph wind, rather than age, that is generally blamed for sending him from the wire.
2006—Swedish Spy Stig Wennerstrom Dies
Swedish air force colonel Stig Wennerström, who had been convicted in the 1970s of passing Swedish, U.S. and NATO secrets to the Soviet Union over the course of fifteen years, dies in an old age home at the age of ninety-nine. The Wennerström affair, as some called it, was at the time one of the biggest scandals of the Cold War.
March 21
1963—Alcatraz Closes
The federal penitentiary located on Alcatraz Island in San Francisco Bay closes. The island had been home to a lighthouse, a military fortification, and a military prison over the years. In 1972, it would become a national recreation area open to tourists, and it would receive national landmark designations in 1976 and 1986.
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