|Vintage Pulp||Apr 28 2020|
We don't know about you, but we had no idea Shaft was a novel that predated the movie until we saw the above cover art. Written by Ernest Tidyman, this originally appeared in 1970 and was quickly snapped up by Hollywood. That edition was a hardback with a black and white cover by Mozelle Thompson and is rare. The edition you see at top was published in 2016 by Dynamite Entertainment and is widely available.
Plotwise, Shaft is hired to find a drug kingpin's kidnapped daughter with the help of Black Panther style revolutionaries. Tidyman's take on New York City and the social climate of the time is entertaining and the violence is swift and brutal. Because filmdom's Shaft was inclusive in his views, even to the extent of a jokingly flirtatious friendship with a gay bartender, we were surprised by the book's homophobia. Tidyman saw Shaft as ultra tough and therefore anti-gay, but the filmmakers saw right through such silliness and decided to turn that aspect of the book on its head. Another change is the treatment of the drug kingpin's daughter. In the movie she's merely kidnapped, but in the novel her captivity takes the form of narcotic and sexual slavery.
In terms of white authors inhabiting the personas of black Big Apple detectives, the trailblazing Ed Lacy did it better with 1958's Room To Swing, but Tidyman manages well enough, we think, even if his prose sometimes meanders. Though we read Shaft only because it was the wellspring of an excellent blaxploitation flick, turns out the book is worth a gander on its own merits. Tidyman also wrote like five sequels. We know nothing about those, but maybe we'll have a look.
|Mondo Bizarro||Jan 9 2020|
Above you see the cover of Old Aunt Dinah's Dream Book of Numbers. We've already talked about Gene Bilbrew's covers for 1970s dream books. We're revisiting the subject today to give you this additional look at his work, but also to take a historical angle on his specifically African American art. Playing daily numbers was an African American invention, part of an underground economy that flourished in many large cities, but reached its apotheosis in Harlem.
It's impossible to know when playing the numbers began—certainly long before the turn of the twentieth century—but the practice took off during the 1920s when a black West Indian man named Casper Holstein began using bank-to-bank transaction data published in New York City papers as the selection mechanism for his daily numbers. Previously, numbers had been chosen in various unreliable ways, but Holstein's innovation placed the selection of numbers in public view, removed any suggestion of corruption, and as a result Harlem's daily lottery thrived.
Which is exactly why the city of New York decided to take it over in 1980, a coup it managed in part by promising to use a portion of the numbers revenue toward public education costs. And of course, proving once again that politicians are the lowest creatures that ever crawled from beneath slime covered logs in miasmic swamps, the city then cut its contributions to the education budget so there was ultimately no net gain for schools, while profits were neatly excised from the black community.
Old Aunt Dinah's Dream Book of Numbers is the third dream book illustrated by Bilbrew we've shared. We're fascinated by the exotic, made-up personae on the covers. The idea of gypsies, Arabs, creoles, Asians, or very old people somehow tapping into mystical power thrived in pulp fiction, early movies, cartoons, and, as you see, even on the covers of dream books. Old Aunt Dinah is our favorite dream book invention, but the characters Madame Zodia and Princess Shaharr—the latter of whom we'll show you later—are close runners up.
For those who don't know what books like these are about exactly, we explained that in our typically roundabout way in previous write-ups, here and here. Shorter version: Dream until your dreams come true. We already have a couple more to share, and we'll keep an eye out for others. And of course we'll continue to be on the lookout for paperback art by Gene Bilbrew. You can see what he's about by clicking this link.
|Vintage Pulp||Jan 8 2020|
|Vintage Pulp||Jun 30 2019|
|Femmes Fatales||Dec 2 2018|
She was sent to Cannes and finished second in the Miss Cannes Film Festival competition. After that Hollywood called and those boring old electrons were forgotten. Television, film, nightclub performing, modeling and a lot of travel followed. There's a lesson in this story, and maybe not one that should be taught to little girls—Forget science! Give us a little leg!—but you don't need a microscope to see that Yancy takes a great picture, and her career longevity suggests she made a good choice.
|Vintage Pulp||Sep 17 2018|
Room to Swing won Lacy the coveted Edgar Award, though we wouldn't say the book is brilliantly written. But it takes readers into fresh territory for a detective novel, and Toussaint is portrayed humanistically and empathetically. The book exemplifies the idea that it's possible for anybody to write about anybody else, regardless of race. Unfortunately, it wasn't a luxury that was often afforded to any but white writers back then, but it certainly should have been. All sorts of insights might have been possible. Room to Swing has plenty of those, and if you can find this Pyramid paperback edition with Robert Maguire cover art, all the better.
|Vintage Pulp||Jun 24 2018|
Sam Ross was the pen name of Samuel Rosen, a Russian born writer who was brought to the U.S. by his parents, attended school, joined the army, served during World War II, and turned both his immigrant and war experiences into journalism, fiction, and screenplays. He was immediately successful, and later shared his valuable insights by teaching at UCLA. You Belong to Me is a wrong-side-of-the-tracks tale of a married man who gets involved with another woman while his wife is out of town and finds himself in all sorts of trouble. The backdrop for his descent into craziness and danger is Manhattan, and often Harlem, which rarely fails in literature to provide writers the tools they need to craft a picturesque tale. Ross takes his protagonist through jazz clubs and all the rest. The book appeared as a paperback original from Popular Library in 1955, and the top notch cover art is by Owen Kampen.
|Vintage Pulp||May 31 2018|
|Vintage Pulp||Feb 25 2018|
Himes' descriptive flair is unique, his sense of place is vivid, his use of language is a highwire act, and his characters are interesting. Even their names are often amazing—Ulysses Galen, Sugartit, Shiek, etc. The Real Cool Killers appeared in 1959, and as we noted when read The Crazy Kill, we're struck by the fact that—in that charged cultural era on the cusp of the Civil Rights Movement—Himes doesn't bother writing a single sympathetic black character aside from his two cops. But in this way he's no different than other hard-boiled crime writers.
Himes moved black characters to the center. They drive the action from all sides rather than are merely affected by it. Research shows that books, films, and television shows in which black characters drive rather than are affected by the action tend to be less popular with white Americans. Seen in that light, Himes' success is a tribute to a unique skill set. In the same way the murdered man in The Real Cool Killers gets his thrills going to Harlem, readers in 1959 were able to visit a world not their own in Himes' fiction. He's more than just a real cool writer. He's a pioneer.
|Vintage Pulp||Jan 25 2018|
Only a unique talent could pull off something so jazzy. We were less impressed with his third novel The Crazy Kill—which was the first of his books we read—but with his award winning Imabelle we've gone back to the beginning of his Harlem cycle and he's got us hooked now, especially since he's actually written a conventional good guy. In The Crazy Kill there are few legitimately sympathetic characters, but in this one you can really root for poor overmatched Jackson. Himes' franchise detectives Coffin Ed and Gravedigger Jones also play significant roles, and in fact Imabelle contains the defining moment of Coffin Ed's career. The story is topped off by a chaotic action movie style climax that's both thrilling and appalling. The Fawcett Gold Medal paperback at top appeared in 1957, and a later reissue as A Rage in Harlem came in 1965. And then there's the movie. Maybe we'll talk about that later.