Fine. Explain. But don't turn around. I hate your face so much right now I might shoot it on general principle.
Above, a cover for Erle Stanley Gardner's The Case of the Haunted Husband, eighteenth in the acclaimed Perry Mason series, from Pocket Books. Generally considered one of the best Mason mysteries, this one tells the story of a female hitchhiker who accepts a ride from a guy who gets a little too handsy, leading to a multi-car crack-up. The woman awakens behind the wheel, with the driver nowhere to be seen, and a fatality in one of the other cars. The cops don't believe she wasn't the driver, so they arrest her and charge her with negligent homicide. Things get worse when the car turns out to be stolen, and suddenly she's on the hook for that too. Enter Perry Mason. Nothing is haunted in this book, but the mystery is a winner. We also were reminded how effective short chapters can be in drawing a reader into a story. The hardback of The Case of the Haunted Husband appeared in 1941, and the above paperback with Bernard Safran art followed in 1949.
In the end I have to admit this minimalist look is kind of depressing. Maybe I should buy an ottoman.
Robert McGinnis does his usual flawless work on this cover for Erle Stanley Gardner's The Case of the Bigamous Spouse. Many summaries of this online, but briefly, it's about a door-to-door saleswoman who is implicated in the murder of her best friend's new husband, who was married to two women. Rest assured, Perry Mason sorts it all out as perfectly as McGinnis sorted out this cover.
Cleanliness is next to bawdiness.
Below, a small selection of paperback covers featuring characters getting more from their daily rinse than just a squeaky clean feeling.
McGinnis makes waves with his art.
It's always a good idea to regularly revisit the work of Robert McGinnis. Above you see his cover for Erle Stanley Gardner's The Case of the Demure Defendant, originally published in 1954 with this Pocket Books paperback appearing in 1964. We love the psychedelic direction McGinnis goes with the ripples in the pond, alternating rings of turquoise and violet. This is fantastic work.
The shape of bad things to come.
Above and below are assorted covers featuring yet another fun mid-century paperback art motif—the looming or threatening shadow. The covers are by the usual suspects—Rader, Phillips, Gross, Caroselli, Nik, as well as by artists whose work you see less often, such as Tony Carter’s brilliant cover for And Turned to Clay. That's actually a dust jacket, rather than a paperback front, but we couldn't leave it out. You’ll also notice French publishers really liked this theme. We’ll doubtless come across more, and as we do we’ll add to the collection. This is true of all our cover collections. For instance, our post featuring the Eiffel Tower has grown from fifteen to twenty-two examples, and our group of fronts with syringes has swelled from thirteen to twenty-six images. We have
twenty-four twenty-six—see what we mean?—more shadow covers below, and thanks to all original uploaders.
Yup, there's something here. Based on your personality I'm inclined to say it's a “666,” but no—they're just bruises.
A.A. Fair's Doublé de dupes, which is a translation of The Bigger They Come, was first published in hardback in 1939, appeared as a U.S. paperback from Pocket Books in 1952, and above in 1958. It's the first in a series starring sixty-something private investigator Bertha Cool and her pint-sized sidekick Donald Lam. Fair, aka Erle Stanley Gardner, had already made his Perry Mason series a success and the Cool/Lam shift got him out of the courtroom. In this one the protagonists attempt to serve divorce papers, but of course the seemingly simple task falls apart spectacularly, leaving a man dead and Lam under suspicion of having committed a serious crime. The British version's title—Lam to the Slaughter—gives that aspect of the story away immediately. The curious cover art you see here by Maurice Thomas was used on both the U.S. and French versions (a bit of a surprise considering the six year gap) and shows Lam checking out injuries on the femme fatale, who has been attacked by another character. General consensus online is that this series improved greatly after the first couple of entries.
Vintage paperback violence gets up close and personal.
We have another collection today as we prepare to jet away on vacation with the girls. Since the place we’re going is known for rowdy British tourists (what place isn’t known for that?), we thought we’d feature some of the numerous paperback covers featuring fights. You’ll notice, as with our last collection, the preponderance of French books. Parisian publishers loved this theme. The difference, as opposed to American publishers, is that you almost never saw women actually being hit on French covers (we’d almost go so far as to say it never happened, but we’ve obviously not seen every French paperback ever printed). The French preferred man-on-man violence, and when women were involved, they were either acquitting themselves nicely, or often winning via the use of sharp or blunt instruments.
Violence against women is and has always been a serious problem in the real world, but we’re just looking at products of the imagination here, which themselves represent products of the imagination known as fiction. Content-wise, mid-century authors generally frowned upon violence toward women even if they wrote it into their novels. Conversely, the cover art, stripped of literary context, seemed to glorify it. Since cover art is designed to entice readers, there’s a valid discussion here about why anti-woman violence was deemed attractive on mid-century paperback fronts, and whether its disappearance indicates an understanding of its wrongness, or merely a cynical realization that it can no longer be shown without consequences. We have another fighting cover here, and you may also want to check out our western brawls here.
They call it the Devil’s wheel for a reason.
It’s been a while since we’ve put together a pulp collection, so below you’ll find vintage cover art that uses the roulette wheel as a central element. They say only suckers play roulette, and that’s especially true in pulp, where even if you win, eventually you lose the money and more. Art is by Ernest Chiriaka, Robert Bonfils, Robert McGinnis, and many others.
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