What the hell are you two snickering about? You never seen a guy polish his tommy gun before?
Harry Schaare does nice work on a cover for W.R. Burnett's thriller High Sierra, copyright 1950 from Bantam Books. If anybody snickered it was probably Schaare himself. He had to know how masturbatory this looked, right? Or maybe it's just us. Anyway, this book obviously became a celebrated gangster film noir starring Humphrey Bogart, but the source material is electric. We read it years ago and it stuck with us. Highly recommended.
… two... and three. Wait. I screwed up again. That would've been on three and. I meant to do it on three.
Here's something backwards from what we usually share—a novel adapted from a film instead of vice versa. The Camp on Blood Island is a 1958 British-made World War II film written by J.M. White and Val Guest, and when you learn it was produced by schlockmeisters deluxe Hammer Film you could be forgiven for suspecting it was low rent b-cinema, but this is Hammer trying to be highbrow. Near the end of the Pacific War, a Japanese prison camp commandant decides that if Japan surrenders he'll execute all his prisoners. So the prisoners decide to prevent news of any prospective surrender from reaching the commandant by sabotaging communications, and they also prepare to rebel when the times comes. We may check the film out sometime, but we were mainly drawn by the paperback art. Not only did it remind us that prison camp novels are yet another subset of mid-century literature, but we saw the Josh Kirby signature on this one and realized we haven't featured him near enough. Last time we ran across him was on this excellent piece. We'll dig around for more. And we may also put together a small collection of prisoner-of-war covers later. They range from true stories to blatant sexploitation, and much of the art is worth seeing.
If you think this is painful wait until I tell you all the kinky things I did with your husband.
T'as triché marquise was written by the pseudonymous author George Maxwell and published in 1953 as part of Editions le Condor's collection La Môme Double-Shot. This is of the more violent entries in the series and the cover art reflects that. What we like best about it is how effortless the blonde makes her submission hold on the brunette look. Not a single golden hair has moved. Many of these Double Shot covers were painted by Jean Salvetti, but this one is by Jacques Thibésart, also known as Nik, or more likely Mik (we're still avoiding changing all those old posts but we'll get around to it). In any case, fine work.
Um, Georgia Boy—see if you can put down that unrest you've got happening down around Savannah.
George Mayers does the cover work for the Erskine Caldwell short story collection Georgia Boy, which first appeared in 1943, and in this Avon paperback edition in 1947. While it's a story collection, all the tales are narrated by one young character and mainly discuss the poor Stroup family and their friends, acquaintances, and neighbors. This is Caldwell in a more humorous mode than normal, but the underlying themes of his work—particularly poverty and racism—remain, as in the tale "Handsome Brown's Day Off," in which a black character becomes a living target at a carnival.
We recently encountered this phenomenon in a Jim Thompson novel, and what we thought, or at least hoped, was a case of literary flourish was actual reality—in the Jim Crow south white carnival goers paid to throw baseballs at black men's heads. The balls were generally of a novelty variety, which is to say heavy enough to fly straight, though not hard enough to be lethal, but still. Making the tableau even more horrific was the requirement that the target stick his head through a hole in a jungle backdrop and that he grin and mug for the assembled whites as he tried to dodge the baseballs. We checked it out in other sources and confirmed the prevalence of this barbaric practice. We also found that carnivals in northern states did it too, though it was far more common down south. Apparently the big fun with these spectacles occurred whenever some college or professional pitcher showed up and thrilled the crowd by nailing these poor guys' heads at high velocity.
We found a 1908 article, which you see at right, about a group of pro baseball players who substituted normal baseballs for novelty ones and repeatedly beaned a man, putting him in the hospital, where it was feared he might not survive. The target was said to have taken the punishment “courageously,” and of course there was no suggestion of charges being filed.
We also found two other mentions of “African dodgers”—the gentlest term used to describe them—being killed. Things like these need to be remembered, especially in light of today's cultural battles wherein a segment of people seek to propagate a myth of the south as misunderstood. But literature, besides its other value, is often useful for preserving history, as Erskine Caldwell shows. That said, in Georgia Boy we preferred the stories about sex and we have a feeling you will too.
Stop playing hard to get! I just want to make sweet love to you!
The Woman Aroused tells the story of a man who allows a confused and mysterious woman to stay with him, then finds he can't get her out of his apartment. He basically can't even get her off his sofa. The woman calls herself Lee, but that isn't her real name. She has no family, no friends, no past. She has a strange accent that hints at origins somewhere in Europe, but conversely she has an American flag tattoo on her forearm.
It emerges that Lee is short for “liebchen,” a nickname from when she was a worker and sex slave in a Polish concentration camp. The tattoo is a cover-up for her Nazi serial number. But even after these discoveries the issue remains how to get rid of her. The narrator is no match for her physically because she's six feet tall and labor hardened, he has limited hope of outsmarting her, and due to complications he can't involve the police. Quite a pickle, and quite an inversion of the usual male-female relationship found in mid-century fiction.
Ed Lacey, aka Ed Lacy, née Leonard Zinberg is not a polished writer, at least not working under this pseudonym, but he certainly dreams up thought provoking tales. This one is just weird enough to sustain interest throughout its short length. The cover on this Avon edition, which gives vivid form to the physical turning of the tables depicted in the narrative, is by famed pin-up artist William Randall, aka Bill Randall, and the copyright is 1951.
Shut up, conscience. We both knew she'd eventually criticize my driving one time too many.
Above, both sides of Australian writer Charlotte Jay's, aka Geraldine Halls' The Fugitive Eye, for Avon Books, 1953, about a witness to murder who loses his eyesight in an accident and finds himself pursued by bad guys. The rear cover, with its multi-angle text, is almost as interesting as the front, but the art is uncredited. If you're wondering where the dead woman's other foot is, someone found it over here.
If you're looking for a street walker keep looking. If you're looking for the street walker you've found her.
Above is the cover of Jason Hytes' 1964 sleaze novel The Street Walker, with beautiful unattributed art in tones of red and violet. In the story, a judge becomes infatuated with a prostitute he encounters when she is a defendant in his courtroom. The judge's wife becomes infatuated with a cop, and the middle-aged cop becomes infatuated with the wife and judge's eighteen-year-old daughter. That's a lot of infatuation and it all gets messy pretty quickly, as the judge beds the prostitute and other women who pass through his court, the cop beds the judge's wife, and later the judge's virgin daughter, a trio of workers bed the judge's wife together, and round and round it goes, leading to a climax, so to speak, that sends the judge to a mental institution, the wife someplace unknown, and the judge's daughter and the cop together down the marriage aisle. There isn't much street walking in this one but there sure is a lot of sex, and the writing isn't bad, considering the genre. Are we recommending it? Well, heh heh, not quite. Just saying, we've spent our time worse ways.
Sorry about that. But since you caught me looking—in my opinion the black bustier and thong were much more flattering.
Writing as woman wasn't uncommon for male sleaze authors, so it's no surprise 1951's Wild Is the Woman was written by a man inhabiting the pen name Laura Hale. The question is who was the man? Some sources say the author was Fredric Lorenz, but The Catalog of Copyright Entries—Third Series: 1951, which is old fashioned paper info scanned to an archive, says it was Lawrence Heller. They seem to be same person, with Lorenz serving as another pseudonym used by Heller. Now the question is who painted the cover? Unfortunately, nobody can say definitively. But what a brilliant job.
Okay, okay. I wanted pizza, but we'll order the damn Thai food instead.
You don't know pressure until the Pulp Intl. girlfriends have applied it, believe us. We'd almost rather face what the protagonist of Charles Francis Coe's Pressure deals with—going from an obscure lawyer trying to scrape by to a crucial cog in an organized crime cartel. It's a bit Breaking Bad in the sense that he initially does it for his family, but ends up alienating them. The pressure really mounts when he decides he has to get out or lose everything. The book first appeared in 1951 and the above Signet edition came in 1952, with cover work by Harry Schaare.
The headlines that mattered yesteryear.
1942—Carole Lombard Dies in Plane Crash
American actress Carole Lombard
, who was the highest paid star in Hollywood during the late 1930s, dies in the crash of TWA Flight 3, on which she was flying from Las Vegas to Los Angeles after headlining a war bond rally in support of America's military efforts. She was thirty-three years old.
1919—Luxemburg and Liebknecht Are Killed
Rosa Luxemburg and Karl Liebknecht, two of the most prominent socialists in Germany, are tortured and murdered by the Freikorps. Freikorps was a term applied to various paramilitary organizations that sprang up around Germany as soldiers returned in defeat from World War I. Members of these groups would later become prominent members of the SS.
1967—Summer of Love Begins
The Human Be-In takes place in San Francisco's Golden Gate Park with between 20,000 to 30,000 people in attendance, their purpose being to promote their ideals of personal empowerment, cultural and political decentralization, communal living, ecological preservation, and higher consciousness. The event is considered the beginning of the famed counterculture Summer of Love.
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