|Vintage Pulp||Oct 24 2016|
This cover for Mickey Spillane's The Deep comes from the UK imprint Corgi Books, which gave Spillane's entire catalog similar minimalist—and uncredited—treatment. Spillane had a couple of gaps in his publishing career, and this book came in 1961 after a nine year break following his indoctrination into the Jehovah's Witnesses in 1952. It has a main character named Deep and he's on a revenge spree, so there's the title for you. Though the cover isn't credited we suspect it was painted by Renato Fratini. It looks like his work, and he did a Spillane series for Corgi during the early 1960s.
|Vintage Pulp||Oct 20 2016|
Gary Lovisi's guide to mid-century paperback cover art Dames, Dolls and Delinquents: A Collector's Guide to Sexy Pulp Fiction attributes this cover to George Gross but many online sources say it's the work of Howell Dodd. Though the internet is incredibly useful for replicating errors, we think the onliners are right this time. While the femme fatale here has some Gross-like elements to her, she has the fiery red hair that was a Dodd trademark. We think we even know her face. Doesn't it belong to legendary red-headed actress Ann Sheridan? Yup, it's her—right down to the little bump in her classic nose. And he used her more than once, we think. A basically identical face appears in several other pieces of his. We're taking full credit for this discovery. Unless of course we're wrong, in which case we deny making any Sheridan related statements. Hey, if it works for presidential candidates it can work for us, right?
|Vintage Pulp||Oct 17 2016|
|Vintage Pulp||Oct 16 2016|
Love Me Sailor was originally published in 1945 by the Australian imprint Georgian House and what a bombshell it was. After much legal wrangling it was banned in 1948 and author Robert S. Close was tossed in prison. His sentence was three months but he served only ten days. He's the only Australian ever jailed for writing a book. After his release he left in disgust for France and didn't return for twenty-five years. Even then he stayed only briefly before leaving again and living the rest of his life on Mallorca.
|Vintage Pulp||Oct 14 2016|
The Rode Vampen Serie, or Red Femmes Fatales Series, was launched in 1963 by the Dutch publishing company De Vrije Pers, with a new entry unveiled every two weeks. Below are ten nice examples. We would love to read Strip Tease Bar, but Dutch is not one of our tongues. See more from De Vrije Pers here and here.
|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||Oct 11 2016|
We're sure everyone remembers the folk wisdom that women needed to brush their hair one hundred times each night to make it shine, right? Well, once the prone woman on the punishment themed cover of 1957's Burlesque Jungle gets one hundred brush strokes of a different kind her butt will be shining too, bright red presumably. This is a republication of 1956's hardback Blonde Flames, about a Miami Beach burlesque queen known as Silver Venus and her rivalry with an upstart dancer. Considering Boyer got both a hardback and a republication out of this, we're surprised it's her only output. A sequel where Silver Venus bobby pins her rival's nipples seems like a no-brainer.
|Vintage Pulp||Oct 9 2016|
We've talked before about Horwitz Publications' habit of using celebrities on its Carter Brown paperback covers. Previous examples include Elke Sommer, Joan Collins, and Senta Berger. Above you see another borrowed celeb—none other than Lili St. Cyr—fronting Brown's 1965 thriller Homicide Harem in a cone bra outfit that brings to mind the fashion of Jean Paul Gaultier. There's no doubt it's her. We've spent a lot of time on her and recognized her high arching eyebrows and cleft chin immediately. But just to assuage any doubts you may have, we found a photo of her wearing the same outfit (though with different shoes), which you see below. We think Horwitz used unlicensed handout photos of moderately famous stars to create their covers. Lili was pretty famous by 1955, but perhaps not in Australia, since she wasn't really in movies to the extent that anything she'd done would have played there. Possibly 1955's Son of Sinbad made it there, but we have no data on that. Anyway, we're still a bit baffled why Horwitz didn't just use local models. It isn't as if there has ever been a shortage of beautiful women down under. This will remain a mystery, we suspect.
|Vintage Pulp||Oct 7 2016|
Above, great cover art for Robert O. Saber's Murder Honeymoon, a digest style paperback from the Australian imprint Phantom Books, 1953. The art originally fronted Saber's 1952 Original Novels thriller City of Sin, which you see at right, and was painted by the always amazing George Gross. Saber was aka Milton K. Ozaki, and we've featured him quite a bit because he seems to have always managed to have his books illustrated by the best. Though the art on these two books was basically the same, the novels were different. This is the first time we've come across identical art for separate novels by the same author.
|Vintage Pulp||Oct 6 2016|
A different type of paperback today, an example of World War II sexploitation, in this case John Slater's Women Under the Samurai, from Stag Modern Novels, which deals with, well... this is not the kind of book to be proudly displayed on a shelf. More like tucked in the back of a closet. The women here are nurses and are believed by the Japanese to know the location of Allied soldiers on the Pacific Island which they all inhabit. Pretty much every torture you can imagine is used, with the whole spectacle serving to both titillate and horrify the reader. Slater, who was a pseudonym used by Ray Slattery (as well as R.L. Taylor, and others) dipped into these murky waters regularly. Some of the titles that resulted: Island Slave, Brides of Terror, Women of Warsaw, Love Slave of Paris, The Captive Women. And so forth. More than eighty times. You can understand these selling during the war and post-war period, but the amazing thing about this genre of fiction is that it lasted until well into the 1970s. This example is from 1964.