|Vintage Pulp||Dec 28 2016|
Above, a very nice piece of William Rose cover art incorporating a window shade for Raymond Chandler's Playback, from Cardinal Books, 1960. This is the last Phillip Marlowe novel Chandler wrote. It first appeared in Britain in 1958 as a hardback. Basically, it's a missing persons case set in California in which Marlowe is put on the trail of a woman being pursued by various shady figures from her past. Many critics consider it lesser Chandler, but it has its plusses. The mystery blog Bloody Murder agrees, and you can read a detailed positive review there by following this link.
|Vintage Pulp||Nov 18 2016|
The interesting cover above for Five Sinister Characters was painted by Paul Stahr and fronts a Raymond Chandler short story collection composed of "Trouble is My Business,” “Pearls Are a Nuisance,” “I'll Be Waiting,” “The Red Wind,” and “The King in Yellow.” Lovecraft fans probably know that last title via its usage by Robert W. Chambers for his 1895 collection of weird stories, which you see at right, but Chandler's “King in Yellow” is unrelated. Chandler's tale involves a tough guy bandleader named King Leopardi who wears yellow suits, while Chambers' collection is, well, weird. But Chandler knew of Chambers and he also knew of Lovecraft's Cthulhu mythos, of which Chambers' fiction is considered a part. Midway through Chandler's tale a character says, “The King in Yellow. I read a book with that title once.” A clear reference to Chambers' macabre work. The influence of that work continues to grow over time—it even made an impact on the first season of True Detective. Originally published by Avon in 1944, this edition of Five Sinister Characters appeared as part of Avon's Murder Mystery Monthly series in 1945. Recommended stuff.
|Vintage Pulp||Jul 5 2016|
|Vintage Pulp||Jul 17 2015|
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.
|Vintage Pulp||Jun 13 2015|
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.
|Vintage Pulp||Oct 16 2013|
You know we like themed cover collections. Over at Killer Covers a few days ago there were two book fronts featuring people falling from a height. A light bulb went off and we realized this represented yet another common pulp art motif. As with our other collections, some of these images are from Flickr, so thanks to the original uploaders on those, and thanks to Killer Covers for the two we borrowed from there. To see one more great falling cover we posted a while back, go here.
|Vintage Pulp||Mar 5 2012|
Stay away from the U.S. long enough and when you go back you get really good gifts. The Big Book of Pulps, above, was a belated birthday present—and what a present it is. At over 1,000 pages, this is probably the most comprehensive pulp anthology we’ve ever seen. Published in 2007 by the now defunct pulp revival specialists Black Lizard, the collection contains stories from Raymond Chandler, Cornell Woolrich, Dashiell Hammett, Erle Stanley Gardner, James M. Cain, Paul Cain and many others, and is even sprinkled with some ink illustrations. We’ll be working our way through this tome for the next couple of years, no doubt. Which means we should finish just in time to go back to the States again and get another great gift. Thanks Neil S.
|Reader Pulp||Sep 11 2009|
This is a classic crime novel. It’s been reprinted many many times, but has it ever had as great a cover? I doubt it.
Submitted by ScoreBaby.
|Modern Pulp||Jun 24 2009|
Above is the promo art for the June 24, 1987 Japanese premier of Alan Parker’s supernatural thriller Angel Heart, a movie that happens to be one of our favorites around here. It’s based upon a novel by William Hjortsberg. That novel, a brilliant channeling of Hammett and Chandler titled Falling Angel, was nominated for an Edgar by the Mystery Writers of America. The film version is dark, violent, sexual, and unflinching. Most of the action was transplanted to New Orleans in place of the book’s New York setting, and that decision gave the film an ominous backdrop of jazz, rain, voodoo, bayou, and shadows, with a desperate protagonist wandering virtually lost in the center of it all.
When the film opened in the U.S. reviewers were impressed with the visual tapestry Alan Parker had constructed, but quite a few were unhappy with both Lisa Bonet’s sexually charged role and the lack of sympathetic characters in the narrative. But this is another of those films that has staying power. Mickey Rourke is brilliant as the rumpled detective Harry Angel, Bonet manages a brave performance in a difficult role, and Robert DeNiro is oily and secretly amused as Louis Cyphre, the client who knows so much more than he’s telling. In fact, if not for an almost ruinous special effects misstep in the final minutes, we’d call this movie a perfect piece of pulp cinema. But even with that one colossal error, this kind of hellride doesn’t come along often, which is why we appreciate it as a rare gem, now twenty-two years old.