Vintage Pulp Jul 5 2020
A BIG IDEA
Everyone said we were crazy to breed bite-sized cattle, but wait'll they taste how juicy and tender they grill up.


Edna Ferber is one of the more significant figures in American literature, a unique, sometimes political author who won a Pulitzer Prize for her groundbreaking 1926 novel So Big. We did one of those Facebook favorite book lists during the lockdown and So Big landed in our top twenty. Ferber wrote other notable books, including Showboat (yes, that one), Cimarron (ditto), and Giant, the 1952 Fawcett Cardinal edition of which you see above with Stanley Borack cover art. Rock Hudson and James Dean would of course make the film version an all-time classic. Ferber occasionally had doubts she'd be a success, but became one of the most popular and respected authors of her era, which just goes to show, whether it's books or bite sized cows, good ideas often win in the end, even if you have to hire a tiny cowboy to do the hands-on work.

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Vintage Pulp Jan 19 2019
A RUDE AWAKENING
Ah hah! There you are, Stabsgefreiter Schultz, out of uniform and with Unterfeldwebel Dietrich's wife, no less.


Nazis ruin everything—even romantic seaside trysts. As it happens though, the scene depicted on this cover of J. Bigelow Clark's The Dreamers never occurs, and in fact these characters must have come from the imagination of artist Stanley Borack, because in terms of their physical characteristics, they don't exist in the narrative at all. The book was originally published in 1945, with this Perma paperback edition appearing in 1955. The story involves four idealistic expatriates living on the small fictional Italian island of Campagna during World War II. Their only intention is escapism in a place of beauty and peace. Then the Nazis show up. And ruin everything.

This book is brilliant, but it will be problematic for some readers because the villain Captain Muller—and he's a very, very bad guy—is gay. His sexuality is a metaphor. As a German officer his incredibly high opinion of himself has primarily to do with his control over and manipulation of men. While some artists use paint or words, he feels he's a Picasso or Titian using humans—the most difficult medium of all—to produce more concrete effects upon civilization than mere visual art does. And his ultimate expression of oneness with his medium is sexual congress with them. Clark's final postulation is that for many men of war, and particularly fascists, violence is a form of eroticism.

Other elements here are also metaphorical, even the island itself. Though the expats, among them an elderly British professor and a German baron, are of different ages and cultures, they become fast friends. Their island is not perfect. There is want and conflict. But without being indoctrinated into the ways of hate people generally help, or at least tolerate, each other. The island represents the possibility of smooth human coexistence. But Captain Muller's purpose is to exert control through violence and fear. He's immediately interested in and drawn to the four expats, and shrewdly understands that the group's relationship with two locals—a legless veteran of the North Africa front and a beautiful young mother—may be the key to achieving his goals.

While all this is going on an American spy arrives on the island and sets into motion a plot to steal diagrams of the submarine bases the Germans are building. The narrative focuses on the professor's and baron's efforts to remain uninvolved, but also follows how a promise
they've made to get the young mother and her child off the island draws them all, bit by terrible bit, into the war against their will. Transitioning from apathy to activism is a standard theme in literature and film, but Clark manages to navigate this course with rare skill. As it develops, The Dreamers generates squirm inducing intensity, almost akin to psychological horror.

But the book's value is in more than just its bold narrative. As time goes by people's knowledge of history comes not from those who lived through it, but from interpreters of it. When conducted under rigorous standards, re-examinations of history are useful and even necessary, but many of this group are not rigorous, and have shady political motives. In the U.S. this manifests as fanciful spins on slavery, the Civil War, and other periods. Many American schoolchildren are now being taught that fascism is the exact opposite of what it was in reality. The Dreamers, written during the fascist era, is clear about what fascism is, how it works, what it seeks to accomplish, and what end of the political spectrum it comes from. Every novel we've read from this period is consistent on these points.

Thus in addition to being a very good book, The Dreamers is yet another reminder that: Mussolini was well liked for years in the U.S. because he was perceived to have saved Italy from communists. Regardless of whether Adolf Hitler had any religious beliefs in private life, the German people knew him as a Catholic, he constantly invoked God in his speeches, and the Holocaust was abetted by people who were overwhelmingly religious. Fascism was vehemently sexist, racist, patriotic, and anti-liberal. Fascism distrusted diplomacy, independent knowledge, and a questioning press, replacing them with aggression, indoctrination, and propaganda. And like all governing systems, fascism was ultimately opportunistic, borrowing any political idea that helped consolidate power.


One benefit of maintaining Pulp Intl. is constantly reading books written contemporaneously with historical events and learning how they were perceived by people who lived through them. The Dreamers has extra value because of this. It's homophobic, though Clark's use of a gay villain is intended to coalesce into metaphor. His scathing attitude toward Germans, on the other hand, never does. It seems as if he hates them en masse. His protagonists often muse about German moral shortcomings. These condemnations of an entire people are an obvious case of turnabout is fair play, and one can hardly be surprised considering what the world was learning about Hitler's atrocities. The Dreamers remains an illuminating reading experience. 


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History Rewind
The headlines that mattered yesteryear.
October 01
1910—Los Angeles Times Bombed
A massive dynamite bomb destroys the Los Angeles Times building in downtown Los Angeles, California, killing 21 people. Police arrest James B. McNamara and his brother John J. McNamara. Though the brothers are represented by the era's most famous lawyer, Clarence Darrow, of Scopes Monkey Trial fame, they eventually plead guilty. James is convicted and sentenced to fifteen years in prison. His brother John is convicted of a separate bombing of the Llewellyn Iron Works and also sent to prison.
1975—Ali Defeats Frazier in Manila
In the Philippines, an epic heavyweight boxing match known as the Thrilla in Manila takes place between Muhammad Ali and Joe Frazier. It is the third, final and most brutal match between the two, and Ali wins by TKO in the fourteenth round.
September 30
1955—James Dean Dies in Auto Accident
American actor James Dean, who appeared in the films Giant, East of Eden, and the iconic Rebel without a Cause, dies in an auto accident at age 24 when his Porsche 550 Spyder is hit head-on by a larger Ford coupe. The driver of the Ford had been trying to make a left turn across the rural highway U.S. Route 466 and never saw Dean's small sports car approaching.
1962—Chavez Founds UFW
Mexican-American farm worker César Chávez founds the United Farm Workers in California. His strikes, marches and boycotts eventually result in improved working conditions for manual farm laborers and today his birthday is celebrated as a holiday in eight U.S. states.
September 29
1916—Rockefeller Breaks the Billion Barrier
American industrialist John D. Rockefeller becomes America's first billionaire. His Standard Oil Company had gained near total control of the U.S. petroleum market until being broken up by anti-trust legislators in 1911. Afterward, Rockefeller used his fortune mainly for philanthropy, and had a major effect on medicine, education, and scientific research.
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