I hate to sound impatient, but I've already been here like forty minutes.
There's nothing quite like cuddling up with a good piece of sleaze fiction, especially when it comes from Midwood-Tower. Alan Marshall's Sex on Arrival, which you see above with Paul Rader cover art, deals with virile young John Steward helping out summers at his parents' hotel and handling the needs of assorted horny guests. We're from Denver originally, so it wasn't hard to recognize where the story's Rocky Mountain Lodge and Cabins is located—though Marshall calls the town Skyline City. But there's this description:
“It is at this point—still on the Great Plains, but with the towering mountains so close that it seems as if a man could reach out and touch them—that Skyline City occurs. The city itself has had many incarnations. At first it was no more than a stagecoach stop, a fort and a trading post. Then, with the advent of cattle ranching on the plains and the discovery of gold in the Rockies, it grew and prospered. It became a center of trade and finance—the capital of an enormous Western empire."
These days Denver is the capital of an enormous collection of immigrants from other states. More than three-hundred thousand came from California, mainly fleeing the west coast's culture, taxes and—ironically—its immigration. Such people would not recognize the city described in Sex on Arrival, but indeed, Denver was once a live-and-let-live paradise where the foolishness described by the author wouldn't have raised an eyebrow. And we're talking about during the eighties when we were young. We can't even imagine what the city was like in 1968.
Thus the book, though set before our time, is a bit of a nostalgia trip for us. On the whole it's a love story—with numerous sexual detours of semi-explicit variety. Semi explicit as in: “Then she wriggled around and her lips were on him. And the sensation radiated outward from his groin in stronger and stronger waves. It was almost more than he could bear. Almost more than any man could bear.” It's racy but not pornographic, and the interludes are short and widely spaced, as actual plot rears its ugly head.
Midwood sleaze titles were generally written under pseudonyms, and this particular author was probably Donald E. Westlake, who admitted producing close to thirty books as Marshall and Alan Marsh. But other authors used the Marshall name too. It isn't possible to know whether this is Westlake—at least not for us—by looking for hints of his style. Whoever wrote this worked fast, and the haste shows. But if you can pick it up cheap—and we mean real cheap—it's worth a read.
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.
Cleanliness is next to bawdiness.
Below, a small selection of paperback covers featuring characters getting more from their daily rinse than just a squeaky clean feeling.
Mid-century paperback art and the race to judgment.
Science has given humanity a lot over the centuries. What will turn out to be one of its most important gifts is its conclusion, widely disseminated beginning in 1950 but by today firmly proven thanks to DNA sequencing, that race doesn’t exist in any scientific way. Of course, many don’t consider that fact a gift—but many people also had serious problems with the revelation that the Earth wasn’t flat. The concept of anti-black racism came entirely from the human imagination within about the last five-hundred years, principally as a means to justify the trans-Atlantic slave trade. Seen in that light, scientific proof that race doesn’t exist represents not new knowledge, but a return to knowledge that was the norm before the drive for riches caused men to deliberately warp human thought as a means to cover for mass cruelty.
As an imaginary construct, however, race is persistently powerful, which the collection of paperback fronts above and below strongly illustrate. We weren’t around when any of these were written, but their existence reveals a surprisingly (to us) lively market in such material. Were all the books you see here of great worth? Certainly not. But even with their flaws—particularly woman-blaming for rape—these books are artifacts of a fascinating racial dialogue that we suspect, on balance, was beneficial. We have fifty examples and there are at least a couple dozen more we didn’t include (Black Dicks for Marcie was just a bit too out there). Some of those pieces will pop up later in a slightly different themed collection. In addition to what you see here, we also put together a related group last year featuring an Asian theme and you can see that here.
An equitable exchange of services.
Are you old enough to have experienced the swinging craze? We aren’t, and we wouldn’t have taken part anyway (are you reading this, Pulp Intl. girlfriends?), but it does look kind of fun on vintage paperbacks (you aren't reading this are you, Pulp Intl. girlfriends?). We’ve shared a few covers in the past dealing with the subject of swapping, and you can see a few here, here, and here. For today we decided it was finally time to do what every pulp site must—put together a large, swap-themed collection of sleaze paperback covers. So above and below is a vast assortment for your enjoyment. The trick with these was to make sure they weren’t all from Greenleaf Classics, which is a company that through its imprints Companion, Candid, Adult, Nightstand, et al, published hundreds of swapping novels. That means we had to look far afield to avoid having the entire collection come from that publisher. We think we’ve done a good job (though we will put together a Greenleaf-only swapping collection later—it’s mandatory). Want to see even more swapping books? Try the excellent sleaze fiction website triplexbooks.com.
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.
I haven’t laughed like this since I was the Duchess of Discomfort. Life was so much simpler back then.
We love the outrageous art from Greenleaf Classics, which means we always have to circle back to it, this time to the above Pleasure Reader entry Queen of Cruelty, by Donald Westlake writing as Alan Marshall. This appeared in 1967 with Tomas Cannizarro assuming the cover duties. You can see a few of our favorite Greenleaf covers here, here, and here.
Faced with this position surrender is the only option.
Here you see a pose that appears over and over in vintage paperback art—one figure looming menacingly in the foreground as a second cowers in the triangular negative space created by the first’s spread legs. This pose is so common it should have a name. We’re thinking “the alpha,” because it signifies male dominance and because of the A shape the pose makes. True, on occasion the dominator isn’t male, sometimes the unfortunate sprawled figure is depicted outside the A shaped space, and sometimes the art expresses something other than dominance, but basically the alpha (see, that just sounds right, doesn’t it?) has been used scores of times with only minor variation. You’ll notice several of these come from subsidiaries of the sleaze publisher Greenleaf Classics. It was a go-to cover style for them. We have twenty examples in all, with art by Bob Abbett, Robert Bonfils, Michel Gourdon, and others.
Catch you on the flipside.
Another great cover today for an Alan Marshall sleaze novel. This time it’s The Orgy Inspector, featuring a lecherous older swing dancer whose favorite maneuver pays high dividends when he tries it on his young partner. You get the impression that by the time she completes her revolution she might end up completely undressed. Girls, let this be a lesson that the whole room is apt to get a good look at the kitty kat if you go swing dancing without undies, so always wear a pair and— Wait. Did we say always? Er, never. That’s the word we were looking for.
The headlines that mattered yesteryear.
1976—Gerald Ford Rescinds Executive Order 9066
U.S. President Gerald R. Ford signs Proclamation 4417, which belatedly rescinds Executive Order 9066. That Order, signed in 1942 by President Franklin D. Roosevelt, established "War Relocation Camps" for Japanese-American citizens living in the U.S. Eventually, 120,000 are locked up without evidence, due process, or the possibility of appeal, for the duration of World War II.
1954—First Church of Scientology Established
The first Scientology church, based on the writings of science fiction author L. Ron Hubbard, is established in Los Angeles, California. Since then, the city has become home to the largest concentration of Scientologists in the world, and its ranks include high-profile adherents such as Tom Cruise and John Travolta.
1933—Blaine Act Passes
The Blaine Act, a congressional bill sponsored by Wisconsin senator John J. Blaine, is passed by the U.S. Senate and officially repeals the 18th Amendment to the United States Constitution, aka the Volstead Act, aka Prohibition. The repeal is formally adopted as the 21st Amendment to the Constitution on December 5, 1933.
1947—Voice of America Begins Broadcasting into U.S.S.R.
The state radio channel known as Voice of America and controlled by the U.S. State Department, begins broadcasting into the Soviet Union in Russian with the intent of countering Soviet radio programming directed against American leaders and policies. The Soviet Union responds by initiating electronic jamming of VOA broadcasts.
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