| Vintage Pulp | Apr 29 2015 |
Change is inevitable—especially if you're dealing with Ian Fleming.
Ian Fleming was not an author to be trifled with. We talked about how he shifted the rights for Casino Royale from Popular Library to Signet. Well, here we go again. The above 1957 Perma paperback of Diamonds Are Forever with excellent William Rose cover art is rare because Fleming shifted the publishing to Signet after Perma changed the title of Moonraker to Too Hot to Handle. Since this happened after the Casino Royale fiasco you’d think the editors would have known better.
Perma: Ian, Moonraker is a terrible title. It sounds like a sci-fi novel.
Fleming: You listen here, you sniveling little pup—
Perma: This is my job, okay. I’m telling you a bad title hurts your whole brand.
Fleming: Well, I have an idea for a book called Goldfinger. I suppose you think that’s a bad title too?
Perma: Well, yeah...
Fleming: Why you annoying insect. And Octopussy? You don’t like that either?
Perma: Sounds pornographic. It’s ludicrous.
Fleming: You have two tin fucking ears is what’s ludicrous! And Chitty-Chitty-Bang-Bang?
Perma: The worst of the bunch, and pornographic. I’m sorry, Ian—
Fleming: Chitty-Chitty-Bang-Bang? Pornographic? That’s the last goddamned straw, you pimply little Yank!
Signet BooksPerma BooksDiamonds Are ForeverMoonrakerToo Hot to HandleOctopussyIan FlemingWilliam RoseJames Bondcover artlierature
| Vintage Pulp | Mar 12 2012 |
Ah hah! There you are, Stabsgefreiter Schultz, out of uniform and with Unterfeldwebel Dietrich's wife, no less.
Nazis ruin everything—even romantic seaside trysts. As it happens though, the scene depicted on this cover of J. Bigelow Clark's The Dreamers never occurs, and in fact these characters must have come from the imagination of artist Stanley Borack, because in terms of their physical characteristics, they don't exist in the narrative at all. The book was originally published in 1945, with this Perma paperback edition appearing in 1955. The story involves four idealistic expatriates living on the small fictional Italian island of Campagna during World War II. Their only intention is escapism in a place of beauty and peace. Then the Nazis show up. And ruin everything.
This book is brilliant, but it will be problematic for some readers because the villain Captain Muller—and he's a very, very bad guy—is gay. His sexuality is a metaphor. As a German officer his incredibly high opinion of himself has primarily to do with his control over and manipulation of men. While some artists use paint or words, he feels he's a Picasso or Titian using humans—the most difficult medium of all—to produce more concrete effects upon civilization than mere visual art does. And his ultimate expression of oneness with his medium is sexual congress with them. Clark's final postulation is that for many men of war, and particularly fascists, violence is a form of eroticism.
Other elements here are also metaphorical, even the island itself. Though the expats, among them an elderly British professor and a German baron, are of different ages and cultures, they become fast friends. Their island is not perfect. There is want and conflict. But without being indoctrinated into the ways of hate people generally help, or at least tolerate, each other. The island represents the possibility of smooth human coexistence. But Captain Muller's purpose is to exert control through violence and fear. He's immediately interested in and drawn to the four expats, and shrewdly understands that the group's relationship with two locals—a legless veteran of the North Africa front and a beautiful young mother—may be the key to achieving his goals.
While all this is going on an American spy arrives on the island and sets into motion a plot to steal diagrams of the submarine bases the Germans are building. The narrative focuses on the professor's and baron's efforts to remain uninvolved, but also follows how a promise
they've made to get the young mother and her child off the island draws them all, bit by terrible bit, into the war against their will. Transitioning from apathy to activism is a standard theme in literature and film, but Clark manages to navigate this course with rare skill. As it develops, The Dreamers generates squirm inducing intensity, almost akin to psychological horror.
But the book's value is in more than just its bold narrative. As time goes by people's knowledge of history comes not from those who lived through it, but from interpreters of it. When conducted under rigorous standards, re-examinations of history are useful and even necessary, but many of this group are not rigorous, and have shady political motives. In the U.S. this manifests as fanciful spins on slavery, the Civil War, and other periods. Many American schoolchildren are now being taught that fascism is the exact opposite of what it was in reality. The Dreamers, written during the fascist era, is clear about what fascism is, how it works, what it seeks to accomplish, and what end of the political spectrum it comes from. Every novel we've read from this period is consistent on these points.
Thus in addition to being a very good book, The Dreamers is yet another reminder that: Mussolini was well liked for years in the U.S. because he was perceived to have saved Italy from communists. Regardless of whether Adolf Hitler had any religious beliefs in private life, the German people knew him as a Catholic, he constantly invoked God in his speeches, and the Holocaust was conceived, conducted, and abetted by people who were overwhelmingly religious. Fascism was vehemently sexist, racist, patriotic, and anti-liberal. Fascism distrusted diplomacy, independent knowledge, and a questioning press, replacing them with aggression, indoctrination, and propaganda. And like all governing systems, fascism was ultimately opportunistic, borrowing any political idea that helped consolidate power.
One benefit of maintaining Pulp Intl. is constantly reading books written contemporaneously with historical events and learning how they were perceived by people who lived through them. The Dreamers has extra value because of this. It's homophobic, though Clark's use of a gay villain is intended to coalesce into metaphor. His scathing attitude toward Germans, on the other hand, never does. It seems as if he hates them en masse. His protagonists often muse about German moral shortcomings. These condemnations of an entire people are an obvious case of turnabout is fair play, and one can hardly be surprised considering what the world was learning about Hitler's atrocities. The Dreamers remains an illuminating reading experience.
This book is brilliant, but it will be problematic for some readers because the villain Captain Muller—and he's a very, very bad guy—is gay. His sexuality is a metaphor. As a German officer his incredibly high opinion of himself has primarily to do with his control over and manipulation of men. While some artists use paint or words, he feels he's a Picasso or Titian using humans—the most difficult medium of all—to produce more concrete effects upon civilization than mere visual art does. And his ultimate expression of oneness with his medium is sexual congress with them. Clark's final postulation is that for many men of war, and particularly fascists, violence is a form of eroticism.
Other elements here are also metaphorical, even the island itself. Though the expats, among them an elderly British professor and a German baron, are of different ages and cultures, they become fast friends. Their island is not perfect. There is want and conflict. But without being indoctrinated into the ways of hate people generally help, or at least tolerate, each other. The island represents the possibility of smooth human coexistence. But Captain Muller's purpose is to exert control through violence and fear. He's immediately interested in and drawn to the four expats, and shrewdly understands that the group's relationship with two locals—a legless veteran of the North Africa front and a beautiful young mother—may be the key to achieving his goals.
While all this is going on an American spy arrives on the island and sets into motion a plot to steal diagrams of the submarine bases the Germans are building. The narrative focuses on the professor's and baron's efforts to remain uninvolved, but also follows how a promise
they've made to get the young mother and her child off the island draws them all, bit by terrible bit, into the war against their will. Transitioning from apathy to activism is a standard theme in literature and film, but Clark manages to navigate this course with rare skill. As it develops, The Dreamers generates squirm inducing intensity, almost akin to psychological horror.But the book's value is in more than just its bold narrative. As time goes by people's knowledge of history comes not from those who lived through it, but from interpreters of it. When conducted under rigorous standards, re-examinations of history are useful and even necessary, but many of this group are not rigorous, and have shady political motives. In the U.S. this manifests as fanciful spins on slavery, the Civil War, and other periods. Many American schoolchildren are now being taught that fascism is the exact opposite of what it was in reality. The Dreamers, written during the fascist era, is clear about what fascism is, how it works, what it seeks to accomplish, and what end of the political spectrum it comes from. Every novel we've read from this period is consistent on these points.
Thus in addition to being a very good book, The Dreamers is yet another reminder that: Mussolini was well liked for years in the U.S. because he was perceived to have saved Italy from communists. Regardless of whether Adolf Hitler had any religious beliefs in private life, the German people knew him as a Catholic, he constantly invoked God in his speeches, and the Holocaust was conceived, conducted, and abetted by people who were overwhelmingly religious. Fascism was vehemently sexist, racist, patriotic, and anti-liberal. Fascism distrusted diplomacy, independent knowledge, and a questioning press, replacing them with aggression, indoctrination, and propaganda. And like all governing systems, fascism was ultimately opportunistic, borrowing any political idea that helped consolidate power.
One benefit of maintaining Pulp Intl. is constantly reading books written contemporaneously with historical events and learning how they were perceived by people who lived through them. The Dreamers has extra value because of this. It's homophobic, though Clark's use of a gay villain is intended to coalesce into metaphor. His scathing attitude toward Germans, on the other hand, never does. It seems as if he hates them en masse. His protagonists often muse about German moral shortcomings. These condemnations of an entire people are an obvious case of turnabout is fair play, and one can hardly be surprised considering what the world was learning about Hitler's atrocities. The Dreamers remains an illuminating reading experience.
| Vintage Pulp | Mar 1 2009 |
Pulp book covers made too-serious Orwell sexy and adventurous.
Just to show that virtually no author escaped the wave of sexulaized art that swept over publishing during the 1950s, here are two pimped out book covers for George Orwell’s Down and Out in Paris and London and 1984. Orwell was already a literary immortal by the time these editions hit the streets, but hey—it’s never too late for an extreme makeover. The covers aren’t dishonest, per-se, but trying to make these two extremely important books look like John D. MacDonald capers is a bit sly. But at least we know the publishers took the propagandist lessons of 1984 to heart. From the age of doublethink—greetings!
