Land ho! Shiver me timbers! Spring break ahoy! Pieces of eighteen year olds!
We've shown you many George Gross covers, all brilliant. This one is a little different for him. Morgan the Pirate was published by Dell in 1961 as a tie-in for the Italian adventure film Morgan il pirata, starring Steve Reeves, that indispensable icon of the sword and sandal era of the ’50s and ’60s. We haven't seen the movie, but this illustration has tempted us to queue it up. More than that, it makes us want to go raise hell somewhere. Actually, we had this one ready to go last year around this time when we had a trip planned, but we cancelled the travel and warehoused the image, figuring, okay, spring 2021. But the gag still doesn't really work, because there aren't any spring breaks (for careful people). But we don't want to sit on the cover another year, so here it is. Come on vaccinators, get to innoculating, so we can get to vacationating. Wooo! Shots! Shots! Shots!
Oh, come on, we're not that bad. Most of the guys we date are married. They'd tell you their wives are the ones that are out of hell.
Above, Girls Out of Hell! by sleaze vet Joe Weiss, published in 1952 by Falcon Books. Weiss was also behind such titles as Gang Girl, Love Peddler, and Forbidden Thrills, for which he paired up with Ralph Dean. All those books will cost you a pretty penny. The question is whether it's because of the often excellent cover art on sleaze digests—this one is by George Gross—or because of the literary content. We intend to find out soon.
This is where being deputy in a one-horse town really sucks.
Elmore's Leonard's second novel The Law at Randado was published in 1954, and it debuted in paperback as this Dell edition with evocative George Gross cover art. Leonard wrote scores of fascinating characters during his long career. The villain here is yet another. Arizona cattleman Phil Sundeen inherited his wealth but pretends he earned it. Though he doesn't truly have a head for business the sheer size of his fortune prevents his numerous failures from ruining him. He commits transgressions that range from the rude to the unethical to the outright illegal. Men work for him knowing they'll eventually be humiliated or cheated, but they tell themselves that maybe there's a way to benefit from the relationship before it implodes.
When Sundeen's stupidity and vanity catalyze a deadly mob, deputy sheriff Kirby Frye wants to hold him to account. Though Sundeen encouraged the chaos, rather than physically taking part, there's no doubt he's responsible for the deaths. But most of the people in the town of Randado defend Sundeen. They all harbor fantasies that by staying on his good side fortune will one day smile upon them. His inner circle protect him, but they know he's wrong. They've gained considerable prestige clinging to him, but they try to make him face the reality of his situation anyway, only to learn that their enablement of him—and the enablement of all the sycophants who came before them—have warped Sundeen's sense of reality:
Sundeen looked up now, faintly grinning. “R.D., you old son of a bitch, you telling me [I'm] wrong?
“I'm facing the facts!”
“Facts don't mean a thing.”
“They do when you're faced with them!”
“I don't see 'em facing me. George, you see any facts facing [me]?”
And presented with this, Sundeen's enablers toss what remains of their integrity into a ditch. In public they claim his obvious crimes are not crimes at all, but they know they're lying, and in private they realize he will only get worse. So does Deputy Frye, which is one reason he's determined to apply the law to Sundeen, same as anyone else. His legal authority comes straight from the county seat in Tucson, but that authority means little to a group willing to see their meal ticket as oppressed by an illegitimate government. Frye has no inkling of where his ideals of evenhanded justice will lead, or what they will cost.
Elmore Leonard was a clever conceptualist—one of the best. The Law at Randado is at its core a tale of order versus chaos, central government over local law, and of whether people believe in the oft-cited principles of what America claims to be. When push comes to shove, those who support Sundeen want those principles binned. Even Frye's girlfriend wants Sundeen to be given a pass, and not just because her father is one of Sundeen's clan. She believes what other townspeople believe: that politicians in Tucson have no right to tell people in Randado what to do. Frye's stubborn insistence on law and order is at first an irritant to Sundeen, then an affront, then a legitimate threat that must be destroyed.
One magical aspect of fiction is that, in skilled hands, what seems murky in real life can be made utterly clear on the written page. Elmore Leonard died nearly a decade ago, so The Law at Randado isn't about events of recent years, but it's relevant because it's about the willingness of some to view the enforcement of the law as transactional. To such people the law is sacrosanct, but only as long as it's applied to others. Leonard explores a foundational civic paradox—that certain groups are entitled to receive protection from the law without accountability to it, while other groups are accountable to the law without being entitled to receive protection from it. The Law at Randado explores that idea and does it exceedingly well.
Headquarters, my gas mask has failed! I'm throwing a grenade! How the hell does this thing work? Over!
George Gross art fronts this January 1956 issue of Hanro Corp's bi-monthy magazine Man's Illustrated. It's an interesting image, but here's where we show our age, or lack of industrial background, or something, because we have no idea what the hell Mr. Flinty Eyes on the cover is holding. Hand grenade? Gas mask? Some kind of steampunk style microphone? Combo of all three? Well, not knowing is not a problem. We still like the image.
It's been a while since we featured this magazine, but we're glad to get back to it because inside this issue there's art from Walter Popp and Rudolph Belarski, and a nice feature on Rear Window actress Georgine Darcy, who we've talked about once or twice before. As far as written content, you get plenty of war and hunting action, of course, but we were drawn to, “The Hottest Town North of the Border,” an investigative piece by journo B.W. Von Block. What town is he talking about? Montreal, which apparently back in ’56 was the one of the best places in the world to get your ashes hauled. These type of stories, which were standard in old men's magazines, always give us a laugh because with their breathless focus on subjects like legal prostitution, nude beaches, and dusk-to-dawn nightclubs they show how repressed the U.S. was compared to so much of the world. It still is, actually. Trust us, we've been around, lived abroad for a long time now, and greatly enjoyed the more permissive societies in which we've resided—including our current one. The U.S. does have many good points, though, one of which is that no country's inhabitants preserve its popular media so prodigiously—which is why we have so many vintage books and magazines to share on Pulp Intl. in the first place. We've pondered many times why Americans hoard more than other cultures and we've finally come up with an answer: garages. Two thirds of Americans have garages. So here's to American garages. They give millions the joy of being their own museum curators.
I used to be over easy, but that was during my wild college years.
Above, a beautiful 1950 Venus Books cover for Hard-Boiled, originally published in 1935 as Struggle, written by Harmon Bellamy, who was in reality Herman Bloom. The book deals with an embittered misogynist who meets up with a hardboiled woman of low repute, and finds his feelings for her evolving from contempt to a growing desire to peel her and have her for a meal. The main attraction here, though, is the art by George Gross. He was good at everything, but in the area of dressing his women, he was top of the heap. This lacy bodysuit is perfect. For more examples of Gross fashions, check this collection, especially the top example.
There's been entirely too much downsizing around here. How about today you and I do a little upsizing?
When does a growth spurt occur in a typical business? In mid-century sleaze fiction, it happens whenever secretary and boss agree, as suggested in this brilliant cover by George Gross for John Hunter's 1957 novel Office Hussy, previously published in 1951 as The Loves of Alice Brandt and credited to Gene Harvey. We like to interpret this as the woman being the boss, having just told her subordinate to pour a couple of tall bourbons, and be damned quick about it. But it can be seen the other way if you wish. Doesn't matter, because when consenting parties get together everybody gets a bonus. You already know George Gross was close to the best paperback artist ever, but if you're unfamiliar with him, check here, here, and here.
If you'd just asked for directions like I told you we wouldn't be in this mess.
This is a nice acquisition—Vereen Bell's Swamp Water with George Gross art on the front. The book is a rural slice of life novel dealing with a young trapper named Ben Ragan who ventures into the Okefenokee Swamp in search of his lost hunting dog, Trouble. Nobody, aside from Indian tribes of earlier times, is thought to have entered the dreaded swamp and returned. Ragan goes in and finds Trouble—and trouble. Bell expertly catalogs swamp flora, fauna, and topography, which makes for a backdrop so vivid you can almost feel the humidity. This is an extraordinarily enjoyable tale, a sort of a revenge novel/chronicle of the deep South/backwoods adventure, written when the vast Okefenokee straddling Georgia and Florida was nearly uncharted territory. 1941 on this originally, with Bantam's edition coming in ’47.
So I thought to myself, why stop at my lips? I had plenty of lipstick and I was bored with this gold colored dress so I just kept going.
This is top quality George Gross art fronting R.R. McCollum's 1951 novel Passion Has Red Lips. You'll notice once again that trick of subtly phallic content in the art. Just look at the guy and the bottle he's holding that seems ready spill at any moment. This was published by Rainbow Books, a company renowned for its brilliant cover art. You can see more amazing examples by clicking its keywords below.
Listen, lady! There's two of us and only one goat on this island! We're going to have to come to an agreement!
No, this cover for William Fuller's 1954 thriller Goat Island is not a duplicate of yesterday's. It's a similar piece painted by the great same artist—George Gross. On both fronts you have the dark-haired femme fatale, the open white shirt, the seated position, the nearby tree, the shack in the distance, and a general backwoods mood. If you must copy, copy yourself. In terms of content the book falls into the category of South Florida detective yarns, a sub-genre scores of writers have found profitable over the decades. It's the second book featuring Fuller's franchise detective Brad Dolan. In 1957 Ace Books republished it with the art redone by John Vernon, which you see below. Yes, they're different. Look closely. Vernon's signature appears at the extreme bottom right, whereas Gross's is absent at top. Duplicating covers was common during the mid-century paperback era but we've rarely seen an artist as accomplished as Vernon given the task. Both covers are good, but Gross gets the nod of quality for only copying himself. |
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