|Reader Pulp||Nov 23 2014|
Guys, when I saw this cover I remembered your collection of pulps with women who’d died in bed. This is a worthy addition, I think. Her eyes aren’t open but the pose is exactly the same. Harry Schaare did the art. Amazing stuff on the site this week, by the way. Have no idea how you do it.
|Vintage Pulp||Nov 17 2014|
We’ve seen these paperback covers in different places around the internet and thought they’d make an interesting collective post showing the progression of their dance-themed covers. The first is from 1950 with art by Rudolph Belarski, the next is from an unknown who nonetheless painted a nice rear cover as well, and the last is from Harry Shaare. Macamba concerns a group of characters in Curaçao, and how one in particular struggles to deal with his biracial background as he grows to manhood. He first tries to become a witch doctor, then excels at conventional learning in university, and eventually ships off to World War II and becomes a hero. Returning home, he has many romances and seeks to find his place in the world. You may wonder if there’s any actual dancing in the book, and indeed there is—the main character watches a performance of the tamboe or tambú, a native dance and music that the Dutch colonizers of Curaçao had made illegal.
Lilla Van Saher captures certain aspects of indigenous culture in Curaçao, even sprinkling the dialogue with some Papiamento, but the book is not derived directly from her personal experiences. She was born Lilla Alexander in Budapest, lived an upper class life, modeled, acted in French fims, married a Dutch lawyer named August Edward Van Saher, and through him was introduced to Dutch culture and its island possessions. During her first trip to Curaçao she claims to have been imprisoned by natives in a church because they thought she was a local saint.
In private life, she was a close friend of Tennessee Williams, traveling with him aboard the S.S. Queen Federica in the early 1950s, entertaining him in New York City, and accompanying him during a press junket of Sweden, acting almost as an agent and introducing him to the upper crust of Stockholm, where she was well known. During this time she was Lilla van Saher-Riwkin, and often appears by that name in biographies of Williams as part of his retinue of admirers and associates, though not always in a flattering light. Later she did what many globetrotting dilletantes do—published a cookbook. Hers was called Exotic Cooking, which is as good a description of Macamba as we can imagine.
|Vintage Pulp||Nov 5 2014|
|Vintage Pulp||Jan 13 2014|
One of the many treats we managed to procure over the holidays was the book above, entitled He-Men, Bag Men & Nymphos, which is a collection of writings by mid-century men’s magazine author Walter Kaylin, a regular contributor to Men, True Action, Man’s World, and a host of other publications. The collection was put together by Robert Deis, along with Wyatt Doyle of the publishing company New Texture, and the titles of the stories are men’s magazine gold that tell you everything you need to know about what's inside. Example: “The Nymph Who Leads an African Death Army.”
Deis had already been inspired enough by the old monthlies to launch the website menspulpmags.com, but teaming up with Doyle to publish the work of one of the form’s most fondly remembered writers bespeaks true devotion to the idea of literary preservation. Deis was actually kind enough to send us both this book and the 2012 book Weasels Ripped My Flesh!, but we’ll get to Weasels later.
|Vintage Pulp||Aug 20 2012|
Above, seven excellent if morbid paperback covers showing a favorite pose of pulp artists—the beautiful supine dead woman with (just to make it extra creepy) nice cleavage. It's amazing how similar these covers are. Art is by Maurice Thomas, Rudolph Belarski, Willard Downes, George Geygan, Harry Schaare, and unknowns.
Update: We were also sent another example in this style by a reader. Check here.
|Vintage Pulp||Mar 29 2012|
We love pulp covers featuring armed women. But we especially love them when the women are directing their attention toward the viewer. Since pulp is read primarily by men, such illustrations speak implicitly about a man’s thwarted expectations, and conversely of threatened women turning the tables to become empowered. We see this above, where a beleaguered woman defends her helpless man against an enemy we can't see because we're living inside his body. Below are thirteen more examples of women menacing you the viewer, with art by James Avanti, Robert Maguire, Harry Schaare, Rudolph Belaski, Harry Barton, and others. Thanks to flickr.com for some of these.
|Vintage Pulp||Dec 19 2011|
Above is a cover for 1963’s Fathers and Daughters by Stuart Friedman for Monarch Books. You get the gist from the art. It’s the story of Brad Latham and his daughter Barbara, who were always very close (sharing innocent father-daughter kisses which seemed to banish the worries of the day, we’re informed) but eventually get a little too close. The artist here, Harry Schaare, was born in New York in 1922, and studied architecture and had a stint in the army before establishing himself as a pulp illustrator. He was most active during the 1960s, and eventually moved into fine art, whereupon he diversified into all kinds of subject matter, from sports to western-themed art to portraiture. If you’re interested, there’s a Flickr gallery of some of his paperback covers here.