| Vintage Pulp | Sep 17 2022 |
Too bad life doesn't have a rewind button—you could go back to when you wouldn't let me seduce the information out of you.
This is a fantastic piece of art for The Big Bite by Charles Williams. We'd be tempted to say frequent Pan Books illustrator Sam Peffer painted it, but he almost always signed his work in a place where it was not easily cropped or covered, the clever boy. Therefore we've seen only a few confirmed fronts by him where his signature was not present. Well, whoever was responsible for the art, we love this scene. You have a man recieving a severe beatdown as the femme fatale stands in the foreground barely interested. They do bore easily. In addition to the excellent art, this was an entertaining tale. We talked about it last year, and you can see what we thought at this link. It was originaly published in 1956, with this edition coming in 1960.
| Vintage Pulp | Sep 2 2020 |
The deeper you go into this casino the wilder it gets.
Today we're circling back to James Bond—as we do every so often—to highlight these movie tie-in editions of Ian Fleming's Casino Royale. The movie these are tied into is not the 1963 original with Sean Connery, but the 1967 screwball version with David Niven as Bond and Woody Allen as Bond's nephew Jimmy Bond. If you haven't seen it, just know that it was terribly reviewed, with Time magazine calling it an “an incoherent and vulgar vaudeville.” These covers are derived from the Robert McGinnis Casino Royale movie poster, which is an all-time classic. McGinnis created two versions of the poster—one with text and one without, with the painted patterns on the female figure varying slightly. You see both of those below.
The paperback was published by both Great Pan and Signet, and the cover art was different for the two versions. The Great Pan version at top is McGinnis's unaltered work, but the Signet version just above was painted by an imitator, we're almost certain. We'd hoped to answer this for sure by visiting one of the numerous Bond blogs out there, but none of them have really discussed the difference between the 1967 paperback covers. That leaves it up to us, so we're going to say definitively that the Great Pan version was not painted by McGinnis. Whoever the artist was, they did a nice job channeling the original piece, even if the execution is at a much simpler level.
Moving back to the posters, if you scroll down you'll see that we decided to focus on the details of the textless version to give you a close look at McGinnis's detailed work. The deeper you go the more you see—dice, poker chips, glittery earrings, actor portraits, and more. If you had a huge lithograph of this on your wall and a tab of acid on your tongue, an entire weekend would slip past before you moved again. This is possibly the best work from a paperback and movie artist considered to be a grandmaster, one the greatest ever to put brush to canvas. If anyone out there can tell us for sure who painted the Signet paperback—or whether it is indeed McGinnis—feel free to contact us.
Casino RoyaleSignet BooksGreat PanTime MagazineIan FlemingSean ConneryRobert McGinnisWoody AllenDavid NivenJames Bondcover artposter artliteraturecinema
| Vintage Pulp | Aug 5 2019 |
He'll make you love him even if it kills you.
Patricia Highsmith's reputation demands that you read any book of hers you find, so when we ran across This Sweet Sickness we knew it would be good. Originally published in 1960 with this paperback coming from British publisher Great Pan in 1963, she tells the story of another troubled man à la her famous Tom Ripley novels. Here we have David Kelsey, in love with a woman who, inconveniently, is married. No problem, though, because obstacles mean nothing. He's determined to win his prospective love's affections, ignoring the fact that she's both unavailable and uninterested.
The book is told from the perspective of this dangerously deluded man, and his mental dissonance, deftly written by Highsmith, is cringe inducing. In Kelsey's head, everything is proof his love is returned. When the woman he desires is kind, it encourages him. When she's resistant, he assumes she isn't acting of her own accord, but instead is being pressured by her husband. There's nothing she can do—literally nothing—to dissuade Kelsey from the idea that his love for a woman obligates her to love him back. It all leads pretty much where you expect—to conflict, terror, death, and the high, lonely ledge of insanity.
It's fascinating to us that the U.S. born Highsmith was unappreciated in her own country, despite her breakthrough at age twenty-nine with Strangers on a Train. Well, considering she spent her life writing novels while residing mainly in France and Switzerland, we doubt she suffered much from the neglect. She's well remembered as an author now, though less so as a person, since she had views that were eyebrow raising even in the context of her era. But This Sweet Sickness is an interesting and relevant book, and we highly recommend it.
The book is told from the perspective of this dangerously deluded man, and his mental dissonance, deftly written by Highsmith, is cringe inducing. In Kelsey's head, everything is proof his love is returned. When the woman he desires is kind, it encourages him. When she's resistant, he assumes she isn't acting of her own accord, but instead is being pressured by her husband. There's nothing she can do—literally nothing—to dissuade Kelsey from the idea that his love for a woman obligates her to love him back. It all leads pretty much where you expect—to conflict, terror, death, and the high, lonely ledge of insanity.
It's fascinating to us that the U.S. born Highsmith was unappreciated in her own country, despite her breakthrough at age twenty-nine with Strangers on a Train. Well, considering she spent her life writing novels while residing mainly in France and Switzerland, we doubt she suffered much from the neglect. She's well remembered as an author now, though less so as a person, since she had views that were eyebrow raising even in the context of her era. But This Sweet Sickness is an interesting and relevant book, and we highly recommend it.
| Vintage Pulp | Oct 15 2018 |
A stranger in strange lands comes to know pure evil.
Because Eric Ambler's 1939 thriller The Mask of Dimitrios is the source of the 1944 film noir of the same name starring Peter Lorre and Sydney Greenstreet, we should have read it long ago, but better late than never. The book tells the story of a writer in Istanbul who becomes interested in a killer, smuggler, slaver, and political agitator known as Dimitrios Makropoulos. In hopes of finding inspiration the writer begins to piece together the life of this mystery man.
The investigation carries him from Istanbul to Sofia to Geneva and beyond. That sounds exotic, but the story is almost entirely driven by external and internal dialogues, with little effort spent bringing alive its far flung locales. While we see that as a missed opportunity, and the book could be shorter considering so much of the aforementioned dialogue fails to further illuminate matters, it's fascinating how Dimitrios is slowly pieced together. Here's a line to remember, as the main character Latimer reflects upon the modern age and what the world is becoming:
“The logic of Michelangelo's David and Beethoven's quartets and Einstein's physics had been replaced by that of The Stock Exchange Yearbook and Hitler's Mein Kampf.”
That isn't one you'd soon forget. Ambler sees casino capitalism and Nazism as twin signposts on a road to perdition built by people like Dimitrios. We can't even imagine that being written by a popular author today without controversy, but Ambler, writing in England during the late 1930s, had zero trouble identifying exactly what he was looking at. This Great Pan edition of The Mask of Dimitrios appeared many years later in 1961, and it has unusual but effective cover art from S. R. Boldero.
The investigation carries him from Istanbul to Sofia to Geneva and beyond. That sounds exotic, but the story is almost entirely driven by external and internal dialogues, with little effort spent bringing alive its far flung locales. While we see that as a missed opportunity, and the book could be shorter considering so much of the aforementioned dialogue fails to further illuminate matters, it's fascinating how Dimitrios is slowly pieced together. Here's a line to remember, as the main character Latimer reflects upon the modern age and what the world is becoming:
“The logic of Michelangelo's David and Beethoven's quartets and Einstein's physics had been replaced by that of The Stock Exchange Yearbook and Hitler's Mein Kampf.”
That isn't one you'd soon forget. Ambler sees casino capitalism and Nazism as twin signposts on a road to perdition built by people like Dimitrios. We can't even imagine that being written by a popular author today without controversy, but Ambler, writing in England during the late 1930s, had zero trouble identifying exactly what he was looking at. This Great Pan edition of The Mask of Dimitrios appeared many years later in 1961, and it has unusual but effective cover art from S. R. Boldero.
TurkeyBulgariaIstanbulSofiaGreat PanThe Mask of DimitriosEric AmblerS. R. BolderoPeter LorreSydney Greenstreetcover artliteraturefilm noirnazis
| Vintage Pulp | Sep 2 2017 |
Okay, I take it back—you don't hit like a girl.
Above you see a great Sam Peffer cover for Jonathan Latimer's Solomon's Vineyard, originally published in 1941, and banned in the U.S. until 1988. We could go into why it was blacklisted, but as always it doesn't really matter, because save for a brief mention of underage sex the book is not racy by today's standards. Its best quality is not sexual innuendo anyway, but toughness. To give you an example, we'll transcribe one of its many interesting scenes. The main character Karl Craven—a burly ex-football player-turned-private detective—becomes upset at the layered deceptions he's had to deal with and finally loses his temper:
I grabbed her by the arms and shook her. Her false teeth fell out and rolled across the carpet. [snip] I started into the parlour, but a thin man in shirtsleeves was in the way. I hit him and he went down. In the parlour the blonde who'd slugged me with the lamp began to scream. She thought I was coming for her. I went to the big radio in the corner. I picked it up, tearing out the plug, and tossed it across the room. It shattered against
the wall. I kicked over a table with two lamps on it. I tore some of the fabric off a davenport. I threw a chair at a big oil painting over the fireplace. I took a metal stand lamp and bent it up like a pretzel. I pulled up the oriental rug and ripped it down the middle.
That's going berserk like you mean it. We won't bother with a long plot summary since you can find those all over the internet, but basically the protagonist is hired to spring a woman from a cult and finds himself neck deep in corpse worship, hidden treasure, police corruption, and sado-masochism. The book is reasonably well written, very hard boiled, and built around a set of unlikely characters—including a femme fatale known by all as “The Princess.” Great Pan published it in 1961, and it had an alternate cover which you also see here. It was re-issued several times after its debut—including by Popular Library as The Fifth Grave—which means it isn't hard to find. We recommend you give it a read.
I grabbed her by the arms and shook her. Her false teeth fell out and rolled across the carpet. [snip] I started into the parlour, but a thin man in shirtsleeves was in the way. I hit him and he went down. In the parlour the blonde who'd slugged me with the lamp began to scream. She thought I was coming for her. I went to the big radio in the corner. I picked it up, tearing out the plug, and tossed it across the room. It shattered against
the wall. I kicked over a table with two lamps on it. I tore some of the fabric off a davenport. I threw a chair at a big oil painting over the fireplace. I took a metal stand lamp and bent it up like a pretzel. I pulled up the oriental rug and ripped it down the middle.That's going berserk like you mean it. We won't bother with a long plot summary since you can find those all over the internet, but basically the protagonist is hired to spring a woman from a cult and finds himself neck deep in corpse worship, hidden treasure, police corruption, and sado-masochism. The book is reasonably well written, very hard boiled, and built around a set of unlikely characters—including a femme fatale known by all as “The Princess.” Great Pan published it in 1961, and it had an alternate cover which you also see here. It was re-issued several times after its debut—including by Popular Library as The Fifth Grave—which means it isn't hard to find. We recommend you give it a read.
