|Vintage Pulp||Mar 23 2017|
|Vintage Pulp||Oct 12 2016|
Shrunken Head à la Pulp Intl.
You will need: One human head freshly cut from an enemy*. One large iron pot. Six to eight gallons of water. Five bundles of firewood. One pound of small stones. One pound of sand. Five ounces of plant seeds. Several small wooden pegs. Needle and twine. One bay leaf (optional).
1: Carefully remove skin and hair from head by making incision in back of neck. Sew eyelids shut, seal mouth with wooden pegs, and sew neck slit closed, but leave large neck hole where head was severed open. Discard skull or offer as sacrifice to cruel primitive god.
2: Simmer head in water for one to two hours. Be to careful not to over boil, as this will cause the hair to come off. Remove head and discard liquid, or add bay leaf and use as soup base.
3: Head should now be one third normal size and rubbery. Carefully turn inside out and scrape remaining flesh away. Discard scraps or save as dog treats.
4: Invert head skin side out once more. Heat stones and sand over fire and insert into head. This will cause more shrinkage.
5: Once head has reached desired size pack in hot sand to set shape and facial features and let bake at low temperature.
6: Remove from sand. Rub wood ash on head to prevent muisak, or avenging soul, from escaping. If you are not superstitious or prefer a lighter colored head skip this step.
7: Fill head with seeds and sew neck hole shut. Hang head several feet over fire to slowly harden. Be careful not to overheat, as hair can ignite.
8: Wear shrunken head around neck to instill terror and revulsion in onlookers. Optionally, it can be fitted with a tiny hat and sunglasses.
And that's all there is to it, kids. If you want a more detailed recipe or just some interesting context read Lewis Cotlow's Amazon Head-Hunters and learn how the Jivaro people of Ecuador did it. 1954 copyright on the Signet Giant edition with James Meese cover art.
|Vintage Pulp||Sep 10 2016|
|Vintage Pulp||Aug 22 2016|
Above, a small collection of Mickey Spillane covers illustrated by Barye Phillips in similar style for Signet Books published throughout the 1950s. Spillane had many cover treatments over the decades but these are among the best. Phillips did other art for Signet, including illustrating the fronts of James Bond and Al Wheeler novels. We're also big fans of this piece, and this one too. And you can also see another Spillane collection we put together here.
|Vintage Pulp||Jul 14 2016|
Above you see the covers for the 1958 and 1954 Signet editions of Death Before Bedtime, by Edgar Box, who was in reality literary legend Gore Vidal. This novel is the middle entry of a trilogy—the first is Death in the Fifth Position and the third is Death Likes It Hot. All feature public relations exec/amateur detective Peter Sargeant II, and the story in this one takes place in Washington, D.C., and involves a murdered senator, his promiscuous daughter, his widow, and various figures ranging from pure to corrupt. It owes plenty to Agatha Christie in that the murder—via dynamite, by the way—occurs in a house and everyone who was on the premises is a suspect. Unsurprisingly, there's almost as much sex as sleuthing, but there's also plenty of Vidalian wit. The top cover was painted by Robert Maguire and the second was the work of Clark Hulings.
|Vintage Pulp||Feb 17 2016|
Brian Harwin's novel Home Is Upriver appeared in 1952, with this Signet paperback arriving in 1955, and concerns the coming of age along the Mississippi River of the orphaned Kip, who finds a home with married couple Buck and Martha, but promptly screws it up by deciding to screw their daughter Storm. The book may be better known these days by its 1959 title Touch Me Not. Brian Harwin was a pen name for author Le Grand Henderson. We know. Why would you change your name from Le Grand Henderson, when that's as writerly a name as can be, whereas Brian Harwin sounds like a guy from high school who ran a hardware store for a few years then you heard he maybe moved back east? Well, it turns out Henderson actually did make use of his amazing name. He published children's books as simply Le Grand, and many of those too take place along the Mississippi River. He was actually born in Connecticut, but his love of the Mississippi blossomed after he undertook a yearlong houseboat journey from Minnesota to the Gulf of Mexico. This would have been during the Great Depression and we can only imagine that the adventure was le grand. Home Is Upriver was the only book he wrote as Harwin. If you want to see its Touch Me Not incarnation, which has excellent Robert Maguire art, we suggest looking at our collection of swamp, bayou, and river paperbacks here.
|Vintage Pulp||May 15 2015|
|Vintage Pulp||Apr 29 2015|
Ian Fleming was not an author to be trifled with. We talked about how he shifted the rights for Casino Royale from Popular Library to Signet. Well, here we go again. The above 1957 Perma paperback of Diamonds Are Forever with excellent William Rose cover art is rare because Fleming shifted the publishing to Signet after Perma changed the title of Moonraker to Too Hot to Handle. Since this happened after the Casino Royale fiasco you’d think the editors would have known better.
|Vintage Pulp||Apr 12 2015|
The story is well known—Popular Library insisted upon changing the title of Ian Fleming’s Casino Royale to what you see above. They even went so far as to call 007 “Jimmy Bond” on the rear cover blurb. Fleming retaliated by selling the U.S. publishing rights to Signet at first opportunity, leaving only a small run of very collectible copies of You Asked For It on the market. Fleming must have learned from the episode, though, that titles don’t really matter, because he later wrote Chitty-Chitty Bang Bang: The Magical Car. Anyway, You Asked for It appeared in 1955, with unsigned and uncredited cover art. The blog Killer Covers has a bit more info about the book here.
|Vintage Pulp||Jan 18 2012|
Above are two covers for Carter Brown’s, aka Alan G. Yates’ thriller Who Killed Dr. Sex? Robert McGinnis painted the cover art at top in 1964 for the Signet paperback, and in 1965 another artist painted a dupe of the cover for Horwitz International’s release. You probably shouldn’t get any credit for copying work, but we have to confess we like the second version quite a bit. McGinnis is a master figure painter, of course, and his reclining woman beats the dupe, but the second version’s wall filigrees and iridescent green bed are nice additions. The other main difference is the direction of the woman’s gaze. McGinnis painted her looking slightly away, while the copycat painted her looking directly at the viewer. It’s a major shift in mood, and an interesting choice. We discussed this copying practice in relation to Carter Brown’s paperbacks before, and we assume it has to do with rights issues between the American and Australian publishers, and Robert McGinnis, but we’d love to know the details. Hopefully, more information will become available down the line.