Citywide virus lockdown continues, with exceptions made for essential workers.
Who constitutes an essential worker is really a matter of opinion, isn't it? In pulp terms, a city without vice can't claim to be a functioning city at all. And since they say prostitution is the oldest profession, it follows it would be the last to shut down. Brothels in various cities are now requiring customers to wear masks when having sex, and the international gimp crowd is like: “Right? You see? It's hella fun. You should try it with leather.” We wonder what happens when the brothels run out of masks (The international gloryhole crowd is like, “You can't guess? Really?”). You won't find any such dickulous variations in Women of the Evening, written by Peggy Gaddis and published by Belmont Books in 1962. In fact, you won't find much sex at all, if our previous Gaddis experiences are an indication. We just finished a Gaddis a few days ago—Once a Sinner, which she wrote as Gail Jordan—and it was more like a romance novel. Well, we'll keep looking. She wrote not only as Gaddis and Jordan, but as Peggy Dern, Sylvia Erskine, Roberta Courtland, Perry Lindsay, et al. One of those alter egos has to be the dirty version of Peggy. We'll find her. She can't hide. Not from us. See more from her extensive bibliography here, here, here, and here.
Gee, I wonder what it would be like if I were in a novel with a good plot and interesting supporting characters?
About fifty percent of the time we choose books by the cover art, and about twenty-five percent of the time the author draws us. The other twenty-five percent? Those are books that are bundled in lots. We end up with them because we have no choice if want the other books in the group. Gail Jordan's, aka Peggy Gaddis's Once a Sinner is one of those. The cover art is blah, and we don't seek out Jordan especially. But we dutifully read it. It's a melodrama about a war veteran who gets married overseas in England, much to the chagrin of his longtime sweetheart waiting back home. When the vet shows up with his new bride Heather, the other woman, Drusilla, sets about trying to ruin the marriage by any means necessary. Dru is stubborn, spoiled, arrogant, and sneaky, yet we liked her more than any of the other characters. That's probably not what Jordan intended, and is definitely a symptom of a book not executed to the highest level. But for all that, it isn't bad. Maybe we'll try another effort from her down the line. Then again, maybe not.
It looks amazing, baby. Er... aaaand should look even better on my lovely wife. Thanks for letting me test it on your neck.
Sometimes when you're caught you're caught. You can try and brazen the moment out, but it usually does no good, at least in mid-century fiction. From there it's just a short distance to mayhem, murder, trials, prison, and all the other fun stuff that makes genre fiction worth reading. From James M. Cain's iconic The Postman Always Rings Twice to J.X. Williams' ridiculous The Sin Scene, infidelity is one of the most reliable and common plot devices. What isn't common is cover art that depicts the precise moment of being caught. Of all the cover collections we've put together, this was the hardest one for which to find examples, simply because there are no easy search parameters. We managed a grand total of sixteen (yes, there's a third person on the cover of Ed Schiddel's The Break-Up—note the hand pushing open the door). The artists here are L.B. Cole, Harry Schaare, Tom Miller, Bernard Safran, and others. And we have two more excellent examples of this theme we posted a while back. Check here and here.
It wasn't until I met you that I realized what marriage really meant. I'll demand a divorce from my wife tomorrow.
Tropical night, sea shore, full moon, convertible roadster, and sneaky adultery. This is a pretty nice cover for Perry Lindsay's, aka Peggy Gaddis's digest paperback Shameless Woman, which was published in 1948 for Knickerbocker Books' sub-set Regular Books. It originally appeared as Sin Cinderella, which is maybe a better title. It's about a divorcée who wants to get back at the millionaire husband who cast her aside, so she recruits an unsuspecting sixteen-year-old, teaches her how to be alluring, and sends her to ruin the ex. Of course, with a ’48 copyright date you know this doesn't get too crazy, but that didn't stop us from buying five other digests from the same period. We'll give them careful reads and report back in more detail a bit later. The art on this, by the way, is uncredited.
I know it's high. It used to be lower, but I spent a summer in D.C., and lemme tell ya, those guys taught me a lot about whoring.
We featured a Charles Rodewald cover last year and loved it, so we're bringing him back today, this time on the front of Ecstasy Novel Magazine, which is showcasing Paula Has a Price!, written by Perry Lindsay, aka prolific pulp author Peggy Gaddis. There's confusion online about the copyright on this, but it was published in January 1949. Top effort from Rodewald, and you can see another here.
There's nothing quite like a roll in the hay.
You'd think we'd eventually run out of themes in mid-century paperbacks, but the possibilities are seemingly endless. We can add illicit love in the hayloft to the many other time honored subjects exploited by paperback publishers. We've already shared several covers along these lines, such as this one, this one, and this one, but today we have an entire set for your enjoyment. Personally, we've never had sex in a hayloft—in fact, we've never even had the opportunity—but we imagine that once you get past the smelly manure and the scratchy hay and the jittery animals it's pretty fun. Or maybe not. There are also numerous books, incidentally, that feature characters trysting by outdoor haystacks, but for today we want to stay inside the barn. Thanks to all the original uploaders of these covers.
My pa shouldn't be back for hours. But just in case he does show up, do you prefer burial or cremation?
A double shot of rural sleaze today, Norman Bligh's Once There Was a Virgin, 1950 from Exotic Novels, and Gail Jordan's The Affairs of a Country Girl, 1952 from Cameo Books. George Gross provided the art for these covers, which are cropped differently, but between the two you see pretty much the entirety of the original piece. We think this is one of his better efforts. We're putting together a small collection of paperback covers set in barns and haylofts, so consider this a preview, along with the covers here, here, and here.
And as for you leaving... *gulp* *swallow* ...we'll discuss that in twenty-four to seventy-two hours.
If you swallow a key does it become a pass key? Just wondering. Whatever you call it, you won't be seeing it again for up to three days, according to what we read about human digestion. But we digress. Above is a beautiful cover for Call Girl by Gail Jordan, aka Peggy Gaddis, for Quarter Books, copyright 1949 with uncredited art. If you've never visited the blog Sleazy Digest Books, we suggest heading over there for a look at this cover and many others in the same style.
Forget it. I hate being constantly poked by small pointy things. And I'm not very fond of hay either.
Have you ever had sex in hay? We haven't, but it seems like it would stab and stick, possibly even lodge and wedge, necessitating careful removal from bodily crevices. We could be wrong. Passion's Harvest, which features hay prominently on the cover, along with a man who has no apparent qualms about its drawbacks, was written by the prolific Peggy Gaddis and published in 1956. It was a revised re-issue of her 1952 Cameo Books paperback Woman of Fire. Basically, you get a May-December marriage, which is without fulfillment for the young wife/mother, but is secure and stable until she meets a local stud and finds herself irresistibly attracted to him. The attraction for us is the George Gross art with its unusual backward signature. As far as hay goes, we're dubious. But we live not far from farmland, so we'll maybe explore this with the Pulp Intl. girlfriends and report back.
What’s in a name? Everything, if it’s the title of a vintage paperback.
Above and below you will find a large collection of pulp, post-pulp, and sleaze paperback fronts that have as their titles a character’s first name. There are hundreds of examples of these but we stopped at thirty-two. The collection really highlights, more than others we’ve put together, how rarely vintage paperback art focuses on male characters. The prose is virtually all male-centered and male-driven, of course, but because the mid-century paperback market was male-driven too, that meant putting women on the covers to attract the male eye. We tell our girlfriends this all the time, but they still think we just don’t bother looking for male-oriented vintage art. But we do. For this collection we found two novels that have male characters’ names as their titles, and we looked pretty hard. If we had to guess, we’d say less than 5% of all pulp art is male-oriented. In any case, the illustrations come from the usual suspects—Barye Phillips, Robert McGinnis, Jef de Wulf, Paul Rader, et al., plus less recognized artists like Doug Weaver. Thanks to all the original uploaders for these.
The headlines that mattered yesteryear.
1948—Paige Takes Mound in the Majors
Satchel Paige, considered at the time the greatest of Negro League pitchers, makes his Major League debut for the Cleveland Indians at the age of 42. His career in the majors is short because of his age, but even so, as time passes, he is recognized by baseball experts as one of the great pitchers of all time.
1965—Biggs Escapes the Big House
Ronald Biggs, a member of the gang that carried out the Great Train Robbery in 1963, escapes from Wandsworth Prison by scaling a 30-foot wall with three other prisoners, using a ladder thrown in from the outside. Biggs remains at large for nearly forty years.
NBC radio broadcasts the cop drama Dragnet for the first time. It was created by, produced by, and starred Jack Webb as Joe Friday. The show would later go on to become a successful television program, also starring Webb.
1973—Lake Dies Destitute
Veronica Lake, beautiful blonde icon of 1940s Hollywood and one of film noir's most beloved fatales
, dies in Burlington, Vermont of hepatitis and renal failure due to long term alcoholism. After Hollywood, she had drifted between cheap hotels in Brooklyn and New York City and was arrested several times for public drunkenness and disorderly conduct. A New York Post
article briefly revived interest in her, but at the time of her death she was broke and forgotten.
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