This is the part of dating I hate. Getting caught by my husband.
Above: a cover for Michael Underwood's 1961 novel Cause of Death, part of a series starring franchise character Detective-Superintendent Simon Manton. Underwood, who was in reality John Michael Evelyn, wrote more than fifty novels during his literary career, with Det. Manton starring in more than a dozen. This cover was painted by Josh Kirby, an interesting artist we don't encounter often, but who we've managed to highlight three times. You can see those here, here, and here. This one would have fit nicely with our collection of covers featuring couples caught in the act of cheating. Check here for that.
What do you mean do something? Generally, people just look at me and applaud.
This is a lovely cover for The Package, aka The Package Deal, by Willis T. Ballard. It's a book we talked about and shared a cover for a few years ago. We don't know which art we like better. Probably the above example. Both illustrations are uncredited, but this one could be by John Richards. His work was appearing on Corgi fronts around this time, 1959 in this case.
This has nothing to do with genocide and land theft, English! I just hate your fucking face!
On this cover for Lauran Paine's novel The Farthest Frontier, illustrator Roger Hall depicts how even in the midst of tectonic historical upheavals there are moments of interpersonal drama. Like this knife fight, which started over confusion about whether trade talks were dressy casual, or just casual. 1957 copyright.
I've been working on some fresh runway poses. I call this one: sociopathicool.
Above: a cover for Australian author Neville Jackson's, aka Gerald Glaskin's 1965 novel No End to the Way. What you see here is a 1967 edition from the British publisher Corgi. This is a significant book, one of the first novels with gay themes to be widely available in Australia. It wasn't legal to mail into the country, so Corgi, the legend goes, flew it in aboard chartered planes to skirt the law.
Plotwise what you get here is a drama about Ray and Cor, two men who meet in a bar and form a relationship that becomes committed, and seems aimed toward permanence—which is exactly when their most serious challenge arises in the form of a bitter ex-lover. This ex is determined to ruin what Ray and Cor have built, up to and including slander, career damage, and more.
We were quite interested in the cover art because Corgi was a mainstream publisher, and with this bright yellow effort they gave this controversial book the full court press. The push, the art, and the quality of the story worked—it was reprinted at least twice, and in fact was Jackson's/Glaskin's best selling book. He was an eclectic and fairly prolific writer, so maybe we'll run across him again later. There's a good bio here. Now we're going to work on that pose.
They say you can't buy love, but you just have to know where to shop.
Above: a striking cover for Gilbert Miller's novelization of the 1957 movie The Flesh Is Weak, which is about how a ring of sex traffickers trick naive women into street prostitution. It stars Milly Vitale, and the painting here by John Richards is a very good likeness of her, despite its cartoonish style. We also like the fur. She must have borrowed it from her pimp. To see our other material on this film just click its keywords below and scroll.
Some people need a mental health day every day.
We were going to post an assortment of covers we thought were scary, but when we came across these Psycho fronts we realized they were all we needed. The creation of veteran horror author Robert Bloch and originally published in 1959, one of literature's early homicidal psychopaths remains frightening even today. When Bloch wrote Psycho the concept of psychopathy was little known in American culture, but after Alfred Hitchcock's 1960 movie adaptation, as well as the real-world Dahmers and Specks and Bundys, that naïveté evaporated. Now everyone knows psychopaths are real and live among us.
Bloch's man-child Norman Bates, a sadist and misanthrope with lust/hate feelings toward women, was able despite his dysfunctions to operate in society with a veneer of civility, and was capable of love, but only a stunted and twisted variety instilled by an emotionally violent forebear from whose shadow he could never fully escape. Sound like anybody you know? We have mostly front covers below, along with a rear cover and a nice piece of foldout art we found on the blog toomuchhorrorfiction. These are all English editions. We'll show you one or two interesting non-English covers later.
Hmph. She didn't crumble to dust. Guess you weren't a vampire after all. Sorry, honey.
You may remember we started on a set of Richard Matheson books several months ago, long before we were thinking about COVID-19, and I Am Legend was always third on the list. There are so many books and stories about humanity being wiped out by flus and viruses. We thought this was one of them. We don't know why, but that was our assumption. The book, though, is actually about vampires. The novel first appeared in 1954, and the Corgi Books edition you see here was published in 1960. The story follows the day-to-day—and night-to-night—existence of man named Robert Neville who lives in a Los Angeles house, from which he kills vampires and forages for food by sunlight, but to which he must retreat every sunset lest he be consumed by rampaging bloodsuckers. He might be the last man on Earth, but how can he know? He's basically tethered to his house as far as a tank of gas can carry him—half to go someplace, half to get back. In that radius he's seen nothing but desolation and vampires.
Most of the narrative deals with him trying to decipher vampire biology as a way to cure or kill them. Everything is covered, from why they hate crosses to why wooden stakes kill them, and the idea of a virus is actually touched upon as a cause of their condition, which is perhaps where we got our mistaken ideas about the book. The science is interesting, but the point is terror and isolation, as the main character's survival is complicated by his occasional bouts of carelessness and despair. Setting aside the usual 1950s social attitudes that don't strike harmonious chords today, the book is effective, and, in parts, legitimately scary. The concept resulted in four film adaptations—1964's The Last Man on Earth, 1971's The Omega Man, and 2007's I Am Legend and I Am Omega. When a book is that kind of cinematic gold mine, you expect it to be good, and it is. We'd even call it a horror monument.
If you make enemies they'll always eventually strike back.
Above, an alternate cover for Whit Masterson's 1956 L.A. mystery Dead, She Was Beautiful. This edition from Corgi Books appeared in 1957, and the art is by Jack M. Faulks, a new name to us. He took an interesting route with this. The art could be depicting the same woman alive and dead (note the blurb: “more dangerous dead than alive”), or it could be depicting two different women of similar appearance. Either works, in terms of the story. Which is to say, yes, a character is shot in the back with an arrow, and yes, that character later turns out to have a twin. Spoiler alert. So you have a cool cover that's more clever than it seems at first. We'll keep an eye out for more from Faulks. And let's all keep an eye out for stray arrows.
Basically, the way this job works is my customers phone for drugs and I have people like you deliver them. I call it Instagram.
David Dodge is one of our favorite authors. He's as solid as they get. In 1946 he jumped on the drug hysteria wagon with It Ain't Hay, and which the British imprint Corgi Books re-issued in 1953 as A Drug on the Market. The book features Dodge's tax accountant hero Walt Whitney, star of three previous books, who learns that a prospective client has made his money by sailing marijuana from Mexico to Half Moon Bay, California. This tale is notable for Dodge in that he moves away from his semi-comic comfort zone and into darker territory in which Whitney breaks all kinds of personal codes while trying to bring the kingpin to justice. Dodge comes from the generation that hated drugs but loved to get loaded on booze, so it all reads a bit ironically today, but we don't judge—maybe one day people will say what reactionaries our generation was about uncut black tar heroin. Dodge's storytelling skill is unscathed, and that's all that matters. With Dodge, you can't miss.
The headlines that mattered yesteryear.
1930—Movie Censorship Enacted
In the U.S., the Motion Pictures Production Code is instituted, imposing strict censorship guidelines on the depiction of sex, crime, religion, violence and racial mixing in film. The censorship holds sway over Hollywood for the next thirty-eight years, and becomes known as the Hays Code, after its creator, Will H. Hays.
1970—Japan Airlines Flight 351 Hijacked
In Japan, nine samurai sword wielding members of the Japanese Communist League-Red Army Faction hijack Japan Airlines flight 351, which had been en route from Tokyo to Fukuoka. After releasing the passengers, the hijackers proceed to Pyongyang, North Koreas's Mirim Airport, where they surrender to North Korean authorities and are given asylum.
1986—Jimmy Cagney Dies
American movie actor James Francis Cagney, Jr., who played a variety of roles in everything from romances to musicals but was best known as a quintessential tough guy, dies of a heart attack at his farm in Stanfordville, New York at the age of eighty-six.
1951—The Rosenbergs Are Convicted of Espionage
Americans Ethel and Julius Rosenberg are convicted of conspiracy to commit espionage as a result of passing nuclear secrets to the Soviet Union. While declassified documents seem to confirm Julius Rosenberg's role as a spy, Ethel Rosenberg's involvement is still a matter of dispute. Both Rosenbergs were executed on June 19, 1953.
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