This is the clean side. I just finished using the other side with my Saturday through Tuesday boyfriend.
We checked online and the indications that you need a new mattress include: it's more than eight years old, you wake with aches and pains, and there's a noticeable sag. And the indications you need a new life include: your bed is in a filthy slum tenement. Such is the case with Perversity and Depravity, 1956 and 1957, in which virtually every character needs a do-over of their existence. Both books, by New Caledonian author Francis Carco, née François Carcopino-Tusoli, are set in the 1920s Parisian underworld of prostitution, crime, and poverty. Carco deals with these subjects compassionately, and his work is heavy with colloquialism and has a strong sense of place. He acquired his insight the old fashioned way—by consorting with the types of people he wrote about. Though his work is obscure in the English speaking world, he was fairly well regarded in his day and is still remembered in France. These are dark books, maybe even brutal, certainly ahead of their time. Harry Barton painted the cover of Perversity and an uncredited artist handled the chores on Depravity.
A nuzzle a day keeps the blues away.
A couple of days ago we shared a cover painted by Harry Barton, and today we're back with assorted examples in the same vein, once again showing instances of neck kissing, or variations very close to that. All of these were also painted by Barton, who clearly had a fine appreciation for female necks. Or male mouths. Whichever.
Barton was a prolific artist who through the ’50s and ’60s produced covers for Avon, Bantam, Dell, Monarch, and Pocket Books. He painted even more fronts with poses close to those seen here, for example men and women kissing normally, but today we decided to stick only to neck kissing. Which by the way is a nice way to spend a few minutes if you have a willing partner.
Ouch, that one's getting a little sore. Can you can switch to the right one?
Above, a cover for Prime Sucker, 1954, written by Harry Whittington for Beacon-Signal, with art showing a man enjoying the milk of human kindness. Well, not really, but it kind of looks that way, right? In this one a man lusts for his employee's wife, which is normally not a problem for the employee, as his wife has more or less free rein. But this time the wife falls for her fling. Meanwhile the boss has a wife too, and while she's normally reserved, she's got a hidden wild streak, if only someone can bring it out. Put this one in the suburban wife-swapping bin. The cover work is by Harry Barton, and interestingly, the throat (or boob) sucking you see above was not a one-off. See here.
Seventeen thrillers from swinging sixties.
Above, seventeen covers from Gold Star Books for Hank Janson's, aka Stephen Daniel Frances's, best selling and highly sexual Hank Janson series, starring a tough reporter who shared a name with the author's pseudonym. We think these represent the complete run of Janson books published by Gold Star, though there are more entries in the series. Later novels were written by Victor Norwood, Harry Hobson, and D.F. Crawley. The excellent art is from Paul Rader, Harry Barton, and Robert Maguire, circa 1963, 1964, and 1965.
Go completely unnoticed in any setting with the amazing new Undercover Operative Trench Coat.
Well, some products don't work as advertised. We weren't going to buy it, but then we learned it came with a complimentary limited edition newspaper with two eye holes cut in it. But when we wore the coat we got spotted immediately and now we have a restraining order. 1955 copyright on this Ace Double of Harry Whittington's One Got Away (Robert Schulz cover art), bound with Cleve F. Adams' Shady Lady (Harry Barton on the art chores). We'll see you after our probation hearing.
Going for the throat.
First rate Harry Barton art of a guy devouring his girl's golden delicious adorns the cover of Ronald Simpson's Eve's Apple, the story of a university student who embarks on a troubled affair with an older woman. Rear cover blurbs are an art form, and this one, using dialogue from the novel, is sublime:
“Well sir, it's a bit embarrassing. There's this married woman..."
“And you've been having an affair with her?”
The professor stared blankly for a moment before committing himself. “Well, Hobie, perhaps I shouldn't say this, but boys will be boys.”
“But—but she's pregnant, sir.”
“Hobie, you really have a problem.”
“No, sir. The problem's yours. You see, it's Eve—your wife, sir.”
We can only assume the professor fails Hobie at that point. 1964 copyright, from Monarch Books.
Getting what you want is all in how you ask.
It seems as if no genre of literature features more characters in complete submission to others than mid-century sleaze. And how do these hapless supplicants express their desperation? They break out the kneepads. Above and below are assorted paperback covers of characters making pleas, seeking sympathy, and professing undying devotion. Though some of these folks are likely making the desired impression on their betters, most are being ignored, denied, or generally dumptrucked. You know, psychologists and serial daters say a clean break is best for all involved, so next time you need to go Lili St. Cyr on someone try this line: “I've decided I hate your face now.” That should get the job done. Art is by Harry Barton, Barye Philips, Paul Rader, et al.
Well, instead how about I just tell you why you’ll probably never get one of us in the sack?
Yes, this Harry Reasoner is the famed American newsman. Tell Me About Women was his only novel, written mostly while he was serving as a correspondent for Stars and Stripes during World War II, and was originally published by Beechhurst Press in 1946. Reasoner described the book as warmly received, but joked about its poor sales, and after a time admitted he cringed over the prose, perhaps because he never really knew anything about women until he fathered five daughters. The book is partly autobiographical, and follows the pattern of a lot of novels from the period—war, discharge, disillusionment, and troubled relations with the opposite sex. The Dell edition above appeared in 1950, and the art is by Harry Barton.
For better or worse, in sickness and health, women in pulp don’t have a heck of a lot of choice about it.
Pulp is a place where the men are decisive and the women are as light as feathers. We’ve gotten together a collection of paperback covers featuring women being spirited away to places unknown, usually unconscious, by men and things that are less than men. You have art from Harry Schaare, Saul Levine, Harry Barton, Alain Gourdon, aka Aslan, and others.
In case of emergency—jump.
Consider these a small subset of our collection of falling covers—call them desperate leaps. The interesting part is if the gunmen weren’t there, both women would look like they were having fun. The art is by Harry Barton, 1957, and Rudolph Belarski, 1948. |
The headlines that mattered yesteryear.
1946—Cannes Launches Film Festival
The first Cannes Film Festival is held in 1946, in the old Casino of Cannes, financed by the French Foreign Affairs Ministry and the City of Cannes.
1934—Arrest Made in Lindbergh Baby Case
Bruno Hauptmann is arrested for the kidnap and murder of Charles Lindbergh Jr., son of the famous American aviator. The infant child had been abducted from the Lindbergh home in March 1932, and found decomposed two months later in the woods nearby. He had suffered a fatal skull fracture. Hauptmann was tried, convicted, sentenced to death, and finally executed by electric chair in April 1936. He proclaimed his innocence to the end
1919—Pollard Breaks the Color Barrier
Fritz Pollard becomes the first African-American to play professional football for a major team, the Akron Pros. Though Pollard is forgotten today, famed sportswriter Walter Camp ranked him as "one of the greatest runners these eyes have ever seen." In another barrier-breaking historical achievement, Pollard later became the co-head coach of the Pros, while still maintaining his roster position as running back.
1932—Entwistle Leaps from Hollywood Sign
Actress Peg Entwistle
commits suicide by jumping from the letter "H" in the Hollywood sign. Her body lay in the ravine below for two days, until it was found by a detective and two radio car officers. She remained unidentified until her uncle connected the description and the initials "P.E." on the suicide note in the newspapers with his niece's two-day absence.
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