|Vintage Pulp||Sep 2 2017|
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.
|Vintage Pulp||Aug 16 2015|
Illustrator J. Oval was a Brit named Ben Ostrick who painted under both his pseudonym and real name. His crisp illustrations helped make Pan Books, which debuted in 1944, one of the most eye-catching mid-century imprints. Pan is still around as part of Britain-based Macmillan Publishers, which is in turn owned by the Georg von Holtzbrinck Publishing Group of Germany. Many of Oval’s pieces for Pan were paired with works so obscure they’re almost impossible to find today, but above you see a good-sized collection, including a few we managed to turn up that haven’t been widely seen. With few exceptions they all use the same formula, though he would occasionally deviate by painting a fully rendered background, or populating a scene with more than one or two figures. You can see a couple more Oval covers in our collection of Asia-influenced paperback art here, and we also shared a small collection of his work back in 2011 that you can find here.