Have you ever considered the possibility that it's just a penis substitute offering psycho orgasmic relief for self esteem inadequacies?
Leave it to a woman to overcomplicate things. Sometimes a gun is just a plain old penis substitute. Dan Cushman's 1953 novel Jungle She features plenty of those, as his franchise man's-man Frisco Dougherty helps an escaped “half caste” damsel in distress return to the locale of her captivity on a Borneo plantation and to try and steal the tyrannical owner Van Hoog's hidden fortune. That's supposed to be her in John Floherty, Jr.'s cover art, and if you're thinking to yourself she looks inclined to use to gun on Frisco, well—spoiler alert—she actually does shoot him, but he survives to confront Van Hoog in a vertiginous rope bridge climax. If you want to buy any of Cushman's jungle adventures you'll probably find them expensive—up to $100 for this one. But be patient. We also saw it for eight bucks.
Elmore Leonard's first crime novel is all ups and no downs.
Elmore Leonard published until 2012, and is thought of as a contemporary novelist rather than a mid-century writer, but The Big Bounce appeared long enough ago to get pulp cover treatment right when that style was fading. The Fawcett Gold Medal movie tie-in edition of the book has Robert McGinnis on the art chores, and this is it for Leonard good girl art, as far as we know. Apparently, he finished the book in 1966 but had it rejected by publishers for three years, a shocking fact considering he already had five novels on the market. But those were westerns and The Big Bounce was Leonard's first crime novel. That's no excuse, really. It should have been published immediately, but publishers are motivated by factors other than literary quality, as a rule. The book is a fun ride involving an ex-con who gets mixed up with some petty thieves and a thrill seeking femme fatale who wants help ripping off her sugar daddy. It has many of the elements Leonard would later perfect—the elliptical plotting, the dialogue that rings so true to the ear, and the mid-scene ending. The Big Bounce is a ball, well worth your time.
New tabloid serves up Russell, Monroe, and others.
Jane Russell, wedged into an outfit that turns her boobs into footballs, graces the cover of the debut issue of Exposed, a high budget tabloid launched by Fawcett Publications in 1955. It arrived on a crowded newsstand already occupied by Confidential—then arguably the most circulated magazine in the U.S.—as well as Whisper, Hush-Hush, Uncensored, and similar publications. The get-up Russell is wearing is a costume from her starring role in 1954's The French Line, and we sort of assumed the shot had been at least slightly doctored, and we seem to be correct. Judge for yourself at right. At least her boob punishment was offset by the fact that her outfit was too flimsy to include one of the deadly corsets that sometimes made their way around stars' waists.
Russell is in Exposed to illustrate a story about sex in cinema, but she isn't the most exposed occupant of the magazine. That would be Marilyn Monroe, whose famous Playboy nude is reprinted for a story about hustlers reprinting her photos. We'll just assume Exposed licensed their Monroe shot. Apparently, though, those other miscreants were selling her likeness by the thousands without permission and without compensating Monroe. Exposed shows her in court testifying for prosecutors. The prosecution may have won its case in 1955, but in the here and now Monroe is sold from Tegucigalpa to Manila, unlicensed all of it. Which just goes to show the more things change the more they stay the same.
Probably the highlight of the issue is a long story about detectives who make their living catching cheating couples in action. Exposed offers up numerous photos of these pairs caught in the act in motel rooms and secluded homes. Are these photos real? Well, we have our doubts. Even the most cleverly posed action shots have those intangibles that mark them as fakes, but that's just our opinion. Judge for yourself. Elsewhere in Exposed you get “Sophie” Loren, Errol Flynn, Marguerite Chapman, Franchot Tone, and other big time celebs.
We're pretty proud of this acquisition. It wasn't terribly expensive, but we've seen it priced much higher than what we paid. Maybe down the line we'll flip ours for a tidy profit. But that's what we always say. Much to the Pulp Intl. girlfriends' chagrin, our office just piles higher and higher with mid-century ephemera and we haven't sold a single piece yet. Exposed goes to the top of the precariously tottering pyramid. We have about thirty-five scans below, and plenty more tabloids on the way.
She has a serious windows vulnerability.
Basic human psychology. When you deliberately hurt someone you may hate yourself but if they get over it you usually do too. When you deliberately hurt someone and they never get over it you stop hating youself and learn to hate them. This is the basic idea behind Clifton Adams' 1953 thriller Whom Gods Destroy. The main character Roy Foley learns this lesson early by kicking a defenseless crippled dog, which he sees every day afterward and therefore keeps kicking it until it goes away. But the lesson really sinks in when his unrequited high school crush kicks him. She's from a wealthy family and he's from the wrong side of the tracks. When he confesses his love for her she laughs in his face. The next day he drops out of high school, flees town, and throws away his bright future. That's backstory. The book opens when he returns fifteen years later. He inevitably sees her again and, as the abused, hates her with a murderous intensity. And as the abuser she hates him right back. It's clear these two are going to mangle each other. Whom Gods Destroy is recommendable stuff.
Population 1280. Correction—1274.
Purely by coincidence, we also read a novel that's the dark twin of Never Say No to a Killer. The book was Jim Thompson's Pop. 1280, and in this one the main character is a self-described moron, and so is everyone else. At least it seems that way at first. Or maybe it's kinder to say they're simply unpretentious and earthy. Check out this exchange between two lawmen from adjacent counties:
“Pre-zactly! Ken said. “So I'll tell you what to do about them pimps. The next time they even look like they're goin' to sass you, you just kick 'em in the balls as hard as you can.”
“Huh? But don't that hurt awful bad?”
“Pshaw. 'Course it don't hurt. Not if you're wearing a good pair o' boots.”
“I mean, wouldn't it hurt the pimps?”
Once we're immersed in this chaw-and-cornbread milieu, one character emerges to be considerably more cunning than the others. The aphorism applies again. Though he doesn't consider himself to be smart, somehow he's more than up to the task of conniving his way through multiple nefarious schemes to reach his ultimate goals, which consist of getting laid and not working too hard as sheriff.
The book is set during the Great Depression and its portrait of man-woman and white-black relations is both horrifying and hilarious. Thompson's approach is partly satirical, but the actual ideas espoused by his characters are deadly serious, as well as historically grounded, such as in a conversation about whether the county's black residents have souls. The consensus is they don't. Why? Because they aren't really people.
It's a pointed commentary on the distant Jim Crow south, yet the very same question of black humanness festers at the core of America's 2017 problems. If you doubt it ask yourself how the same observers who have limitless sympathy for a white rancher shot after initiating a standoff with federal lawmen somehow have none for unarmed black men shot in the back, or why rich white ranchers who refuse to pay their federal grazing fees are perceived as persecuted, while a poor black man trying to survive by selling loose cigarettes is not.
Critic Stephen Marche once described Pop. 1280 as “preposterously upsetting,” which is as apt a description as we can imagine. The idea of who's really human, what is sexual consent, what are the obligations of lawmen, and what is evil are played for laughs by Thompson, but always with an incisive twist that lets you know where his sympathies lie. Yet as shocking as the book is to read, it's addictive and consistently entertaining, particularly when various characters dispense their tabacky soaked wisdom…
… about women: “I'd been chasing females all my life, not paying no mind to the fact that whatever's got tail at one end has teeth at the other, and now I was getting chomped on.”
... about the mentally challenged: “You probably ain't got as long a dingle-dangle as him—they tell me them idjits are hung like a stud hoss.”
… about learning: “I mean I caught him reading a book, that's what! Yes sir, I caught him red-handed. Oh, he claimed he was only lookin' at the pitchers, but I knew he was lyin'.”
We recommend Pop. 1280 highly. The Gold Medal paperback you see above with its Robert McGinnis cover art is expensive, but numerous later printings are available at reasonable prices. Just go into the reading with your psyche girded. You'll root for the main character Nick Corey, but he's merely one of the most charming bad apples in a town that's rife with rot. That rot leads to the reliable pulp staples of adultery, betrayal, and murder many times over, but in the most unique and enjoyable way.
That famous southern hospitality must happen in some other part of the south.
Charles Williams' 1954 thriller Go Home, Stranger doesn't take place entirely at sea like fun efforts such as Dead Calm and Aground, but it does have an aquatic focus, with much of the action taking place in swamps and bayous along the Gulf Coast, as lead character Pete Reno tries to prove to the yokel police force that his famous actress sister didn't murder her husband. Though the cops aren't much help he finds an ally who doubles as a love interest. The Gulf feel is strong, the story is interesting, and the writing is typically solid, but this is not Williams at his best. Relegating the sister—who has the most at stake—to a mainly off-the-page role possibly saps the story of urgency. But of course middling Williams surpasses many thriller authors' best work. The cover art is by Barye Phillips, and its dark and moody nature illustrates the prose nicely. The copyright on this Gold Medal edition is 1963.
A deserted island, a pair of killers, and very little time.
We just finished reading Aground, which Charles Williams wrote in 1960, and it was a solid if unspectacular outing from a highly experienced author. In this one John and Rae (two characters who meet here but would later marry and appear in Dead Calm) are trapped with two weapons smugglers on a yacht that's stuck on a reef. The only way to free the boat is to lighten the load, so the crooks make the couple help unload tons of guns onto the atoll, and thus we get the ticking clock for this thriller—when the boat is light enough to float, the criminals will move it to slightly deeper water, make their captives reload the guns, kill them and be off. A fun gimmick, perhaps not exploited to fullest advantage, but the end result is worthwhile. The Crest paperback edition above, with uncredited art, appeared in 1961.
Hmm... you should be on the ground writhing in agony by now. What's this material? Polyester?
We talked about the Charles Williams thriller A Touch of Death back in 2015. Shorter version: it's great. But we didn't show you the alternate cover art. This edition came first, in 1954, from the brush of Saul Tepper. See the other cover here.
Age is just a number—a prison sentence is real.
The cover blurb on this 1957 Crest paperback for Gil Brewer's Little Tramp is a case of false advertising. The femme fatale is not jail bait—she's eighteen. Which might make involvement with her a case of bad judgment, but not one of illegality. An important detail, that. But even if young Arlene isn't jail bait, she still might be the reason the down-on-his-luck protagonist Gary Dunn goes to prison. She's decided to stage her own kidnapping to pry money from her rich father, and has set Dunn up to look like the perpetrator. The scheme goes wrong when a sleazy private investigator decides to use the scam to kidnap Arlene for real. This is typical Brewer—an everyman finds himself in over his head with a woman. The art however, is not typical. It's first rate stuff, painted by the always great Barye Phillips for Fawcett-Crest in 1957.
It's really been three days since we showered? Wow. The old saying is true—time flies when you're having fun.
Love in Dishevelment by David Greenhood deals with a man and woman in New York City who decide to live together, something that was severely frowned upon in 1948 when the book was first published, especially for two upstanding professionals like the couple in the story. There's also an out-of-wedlock baby, even more frowned upon, and these and other elements led to the book being banned in Australia, though on the whole you could call the story a romance. Greenhood, who also wrote non-fiction and poetry, takes a literary approach here, and he earned good reviews. This Fawcett-Crest edition appeared in 1955 with cover art from James Meese.
The headlines that mattered yesteryear.
1920—The Nazi Party Is Founded
The small German Workers' Party, or DAP, which was under the direction of Adolf Hitler, changes its name to the National Socialist German Workers' Party. Though Hitler adopted the socialist label to attract working class Germans, his party in fact embraced mainly anti-socialist ideas. The group became known in English as the Nazi Party, and within the next fifteen years expanded to become the most powerful force in German politics.
1942—Battle of Los Angeles Takes Place
A object flying over wartime Los Angeles triggers a massive anti-aircraft barrage
, ultimately killing 3 civilians. Initially the target of the aerial barrage is thought to be an attacking force from Japan, but it is later suggested to be imaginary and a case of "war nerves", a lost weather balloon, a blimp, a Japanese fire balloon, or even an extraterrestrial craft. The true nature of the object or objects remains unknown to this day, but the event is known as the Battle of Los Angeles.
1945—Flag Raised on Iwo Jima
Four days after landing on the Japanese-held island of Iwo Jima, American soldiers of the 28th Regiment, 5th Marine Division take Mount Suribachi and raise an American flag. A photograph of the moment shot by Joe Rosenthal becomes one of the most famous images of WWII, and wins him the Pulitzer Prize later that year.
1987—Andy Warhol Dies
American pop artist Andy Warhol, whose creations have sold for as much as 100 million dollars, dies of cardiac arrhythmia following gallbladder surgery in New York City. Warhol, who already suffered lingering physical problems from a 1968 shooting, requested in his will for all but a tiny fraction of his considerable estate to go toward the creation of a foundation dedicated to the advancement of the visual arts.
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