|Vintage Pulp||May 17 2020|
Below, another collection of covers featuring characters expressing a little affection, a continuation of the lip locks we put together way back in 2013, and an adjunct to our collection of Harry Barton neck kisses from 2017.
|Vintage Pulp||Sep 28 2018|
Another cheapie cover from Greenleaf Classics, Lust Demon by Don Elliott, with a tableau featuring a nipple-less devil woman and her unsuspecting companion. This isn't just any sleaze—it's sleaze by Robert Silverberg hiding behind the Elliott pseudonym. We've read of few of his smut efforts now, and he's better than the average literary perv. That doesn't sound like a compliment, but it really is. 1966 on this with art by uncredited.
|Vintage Pulp||Nov 25 2015|
Science has given humanity a lot over the centuries. What will turn out to be one of its most important gifts is its conclusion, widely disseminated beginning in 1950 but by today firmly proven thanks to DNA sequencing, that race doesn’t exist in any scientific way. Of course, many don’t consider that fact a gift—but many people also had serious problems with the revelation that the Earth wasn’t flat. The concept of anti-black racism came entirely from the human imagination within about the last five-hundred years, principally as a means to justify the trans-Atlantic slave trade. Seen in that light, scientific proof that race doesn’t exist represents not new knowledge, but a return to knowledge that was the norm before the drive for riches caused men to deliberately warp human thought as a means to cover for mass cruelty.
As an imaginary construct, however, race is persistently powerful, which the collection of paperback fronts above and below strongly illustrate. We weren’t around when any of these were written, but their existence reveals a surprisingly (to us) lively market in such material. Were all the books you see here of great worth? Certainly not. But even with their flaws—particularly woman-blaming for rape—these books are artifacts of a fascinating racial dialogue that we suspect, on balance, was beneficial. We have fifty examples and there are at least a couple dozen more we didn’t include (Black Dicks for Marcie was just a bit too out there). Some of those pieces will pop up later in a slightly different themed collection. In addition to what you see here, we also put together a related group last year featuring an Asian theme and you can see that here.
|Vintage Pulp||Oct 12 2015|
|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||Dec 29 2014|
Those are the lyrics, right? We can’t remember. You know, maybe humping a snowman is more fun than it looks, but even so, it seems like a good way to find yourself explaining to a doctor—or a gynecologist—how you got the weirdest case of frostbite ever. Don Elliott was a pseudonym used by science fiction author Robert Silverberg, and we can only guess he’s cringed over this one at least once a day ever since he wrote it in 1967. The art is by Tomas Cannizarro.
|Vintage Pulp||Feb 2 2014|
We’ve explored several cover motifs in pulp art, and another we’ve grown to appreciate is the use of venetian blind shadows or silhouettes. Always a dramatic addition to a cover, we could probably compile fifty of these, at least, but here are twenty examples. The artists—Olivier Brabbins, Emilio Freix, Robert Maguire, James Hodges, and others—use them to greater and lesser degrees, and opt for both literal and stylized renderings. For instance, the above cover from Maguire shows vertical shadows, but the sense of venetian blinds remains. As always, thanks to all the original uploaders, particularly Pulpnivora for the very nice front to La llamada de la muerte.
|Vintage Pulp||Aug 12 2013|
Today we have another cover collection for you. We had noticed quite a few pieces of pulp/sleaze art featuring syringes as a central element, so we’ve gathered up twenty examples, with art by Michel Gourdon and others. Some of these are from Flickr, so thanks to the original uploaders.
|Vintage Pulp||Jul 27 2011|
Below, eight pulp covers with corporal punishment as their central themes, with art from Rudolph Belarski, Bob Abbett and others.
|Vintage Pulp||Feb 11 2009|
Since we mentioned the great Robert Silverberg’s foray into smut, we thought we’d post another one of his dirty books. Here he writes under the name Don Elliott and, believe it or not, we saw this paperback online for $42. Yeah, for real. Since the original only cost ninety-five cents, that represents an appreciation of like… well, we have no idea. What we do appreciate is the masterpiece cover art by Robert Bonfils featuring four girls who like to draw outside the lines.