Vintage Pulp May 18 2017
NECK AND NECK
A nuzzle a day keeps the blues away.

A couple of days ago we shared a cover painted by Harry Barton, and today we're back with assorted examples in the same vein, once again showing instances of neck kissing, or variations very close to that. All of these were also painted by Barton, who clearly had a fine appreciation for female necks. Or male mouths. Whichever.

Barton was a prolific artist who through the ’50s and ’60s produced covers for Avon, Bantam, Dell, Monarch, and Pocket Books. He painted even more fronts with poses close to those seen here, for example men and women kissing normally, but today we decided to stick only to neck kissing. Which by the way is a nice way to spend a few minutes if you have a willing partner.

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Vintage Pulp May 16 2017
ALL DAY SUCKER
Ouch, that one's getting a little sore. Can you can switch to the right one?


Above, a cover for Prime Sucker, 1954, written by Harry Whittington for Beacon-Signal, with art showing a man enjoying the milk of human kindness. Well, not really, but it kind of looks that way, right? In this one a man lusts for his employee's wife, which is normally not a problem for the employee, as his wife has more or less free rein. But this time the wife falls for her fling. Meanwhile the boss has a wife too, and while she's normally reserved, she's got a hidden wild streak, if only someone can bring it out. Put this one in the suburban wife-swapping bin. The cover work is by Harry Barton, and interestingly, the throat (or boob) sucking you see above was not a one-off. See here.

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Vintage Pulp Dec 18 2016
HANK GOODNESS
Seventeen thrillers from swinging sixties.

Above, seventeen covers from Gold Star Books for Hank Janson's, aka Stephen Daniel Frances's, best selling and highly sexual Hank Janson series, starring a tough reporter who shared a name with the author's pseudonym. We think these represent the complete run of Janson books published by Gold Star, though there are more entries in the series. Later novels were written by Victor Norwood, Harry Hobson, and D.F. Crawley. The excellent art is from Paul Rader, Harry Barton, and Robert Maguire, circa 1963, 1964, and 1965. 

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Vintage Pulp Dec 12 2016
A FRESH COAT
Go completely unnoticed in any setting with the amazing new Undercover Operative Trench Coat.

Well, some products don't work as advertised. We weren't going to buy it, but then we learned it came with a complimentary limited edition newspaper with two eye holes cut in it. But when we wore the coat we got spotted immediately and now we have a restraining order. 1955 copyright on this Ace Double of Harry Whittington's One Got Away (Robert Schulz cover art), bound with Cleve F. Adams' Shady Lady (Harry Barton on the art chores). We'll see you after our probation hearing.

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Vintage Pulp Jul 12 2016
APPLE GOBBLER
Going for the throat.


First rate Harry Barton art of a guy devouring his girl's golden delicious adorns the cover of Ronald Simpson's Eve's Apple, the story of a university student who embarks on a troubled affair with an older woman. Rear cover blurbs are an art form, and this one, using dialogue from the novel, is sublime:

“Well sir, it's a bit embarrassing. There's this married woman..."

“And you've been having an affair with her?”

“Yes, sir.”

The professor stared blankly for a moment before committing himself. “Well, Hobie, perhaps I shouldn't say this, but boys will be boys.”

“But—but she's pregnant, sir.”

“Hobie, you really have a problem.”

“No, sir. The problem's yours. You see, it's Eve—your wife, sir.”

We can only assume the professor fails Hobie at that point. 1964 copyright, from Monarch Books.

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Vintage Pulp Jul 9 2016
BEGGING FOR IT
Getting what you want is all in how you ask.


It seems as if no genre of literature features more characters in complete submission to others than mid-century sleaze. And how do these hapless supplicants express their desperation? They break out the kneepads. Above and below are assorted paperback covers of characters making pleas, seeking sympathy, and professing undying devotion. Though some of these folks are likely making the desired impression on their betters, most are being ignored, denied, or generally dumptrucked. You know, psychologists and serial daters say a clean break is best for all involved, so next time you need to go Lili St. Cyr on someone try this line: “I've decided I hate your face now.” That should get the job done. Art is by Harry Barton, Barye Philips, Paul Rader, et al.

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Vintage Pulp Jun 17 2015
AGE OF REASONER
Well, instead how about I just tell you why you’ll probably never get one of us in the sack?

Yes, this Harry Reasoner is the famed American newsman. Tell Me About Women was his only novel, written mostly while he was serving as a correspondent for Stars and Stripes during World War II, and was originally published by Beechhurst Press in 1946. Reasoner described the book as warmly received, but joked about its poor sales, and after a time admitted he cringed over the prose, perhaps because he never really knew anything about women until he fathered five daughters. The book is partly autobiographical, and follows the pattern of a lot of novels from the period—war, discharge, disillusionment, and troubled relations with the opposite sex. The Dell edition above appeared in 1950, and the art is by Harry Barton.

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Vintage Pulp Feb 7 2015
UNHAPPILY CARRIED
For better or worse, in sickness and health, women in pulp don’t have a heck of a lot of choice about it.
 
Pulp is a place where the men are decisive and the women are as light as feathers. We’ve gotten together a collection of paperback covers featuring women being spirited away to places unknown, usually unconscious, by men and things that are less than men. You have art from Harry Schaare, Saul Levine, Harry Barton, Alain Gourdon, aka Aslan, and others.
 

 
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Vintage Pulp Jun 26 2014
ONE GIANT LEAP
In case of emergency—jump.

Consider these a small subset of our collection of falling covers—call them desperate leaps. The interesting part is if the gunmen weren’t there, both women would look like they were having fun. The art is by Harry Barton, 1957, and Rudolph Belarski, 1948.
 
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Vintage Pulp Mar 29 2012
STARING DOWN THE BARREL
Stop whining. You deserve this bullet and you know it.

We love pulp covers featuring armed women. But we especially love them when the women are directing their attention toward the viewer. Since pulp is read primarily by men, such illustrations speak implicitly about a man’s thwarted expectations, and conversely of threatened women turning the tables to become empowered. We see this above, where a beleaguered woman defends her helpless man against an enemy we can't see because we're living inside his body. Below are thirteen more examples of women menacing you the viewer, with art by James Avanti, Robert Maguire, Harry Schaare, Rudolph Belaski, Harry Barton, and others. Thanks to flickr.com for some of these. 

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History Rewind
The headlines that mattered yesteryear.
June 24
1938—Chicora Meteor Lands
In the U.S., above Chicora, Pennsylvania, a meteor estimated to have weighed 450 metric tons explodes in the upper atmosphere and scatters fragments across the sky. Only four small pieces are ever discovered, but scientists estimate that the meteor, with an explosive power of about three kilotons of TNT, would have killed everyone for miles around if it had detonated in the city.
June 23
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
June 22
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
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