*psst* I want you to stick your finger in my handhole, only I don't really mean finger or handhole.
The iconic sleaze publisher Midwood Books uses Robert Schultz art twice on covers for John Turner's Take Care of Me and Vin Fields' The Come On, 1963 and 1966 respectively, in which a woman makes clear in her not-so-subtle way what's on her mind. You can make a case that she's not actually simulating sex with her hands. We won't make that case though—we think the slight mispositioning of her finger merely provides enough wiggle room to deny the undeniable, probably a necessary precaution during an era when publishers were occasionally hauled into court on obscenity charges. We think this is a pretty daring piece of art.
The score was never in question. I'm a 10, and you're a zero.
Above, a nice Robert Schultz cover for the 1962 titillation novel I Know the Score, written by the curiously named Ort Louis. Surely Ort is a pseudonym, one that sounds like the noise a hungry seal makes, however he's also credited with 1963's The Pleasure and the Pain, and wrote for crime magazines such as Manhunt. So maybe he's a real person. We'll keep an eye out for more info.
*sigh* I'm still confused how I was charged for not having something.
They say possession is nine tenths of the law, but that last tenth can get mighty interesting if the thing you don't possess when the cops come along is, for example, identification, or clothing, or, apparently morals. Paul Hunter's 1961 novel Morals Charge deals with an eighteen-year old named Nancy who is lusted after by her mother's boyfriend, falls into the clutches of a big city racketeer, is jailed on a morals charge and abused by cops intent on using her to snare bigger prey. Paul Rader handles the cover work here, and it's a typically excellent effort. Mid-century paperback art would be far less entertaining without him, and though everything he does is great, if you want to see some of our favorites, check here, here, here, and here. We also have a mini-collection here.
Well, it's a size 8, and a little veiny, and it has a corn. Keep going? Okay, but I just don't get this fetish of yours.
Above, a cover for Gerald Kramer's Apartment Party, 1966, from Midwood Books. Kramer was a pseudonym used by Jerry Weil, author of books such as Nobody Dies in Paris, Naked in Paris, and The Spy Who Came Home To Die. He also wrote quite a few other sleazers for Midwood, so we'll certainly see him again.
She's not the sharpest ho in the toolshed.
Lana, by Joan Ellis, is sleaze fiction about a fifteen-year-old girl with poor critical reasoning skills. Which is to say she's D-U-M. Basically, she falls for an older guy who pimps her out. Her rationalizations around this are hilarious. Prostitutes often form co-dependent bonds with their pimps, so we hear, but Ellis didn't handle that aspect with sufficient skill, instead making poor Lana flat-out superficial. But hey—it's a sleaze novel. You don't go into it expecting Les Miserables. This is copyright 1960 with Paul Rader cover art (of a figure that looks a lot like Elsa Martinelli). By the way, if for some reason you don't know the term “ho,” look here.
Here she comes now. Biff, Chad, Chip, Connor, Tanner, and Cody all say she's amazing in the sack.
Above, another paperback for the campus sleaze bin, R.C. Gold's Teenage Temptress, published 1967, by Midwood (who else?). No cover credit, but it's a pretty nice illustration. We have a lot of these types of covers in the website, but our faves are here and here.
It looks amazing, baby. Er... aaaand should look even better on my lovely wife. Thanks for letting me test it on your neck.
Sometimes when you're caught you're caught. You can try and brazen the moment out, but it usually does no good, at least in mid-century fiction. From there it's just a short distance to mayhem, murder, trials, prison, and all the other fun stuff that makes genre fiction worth reading. From James M. Cain's iconic The Postman Always Rings Twice to J.X. Williams' ridiculous The Sin Scene, infidelity is one of the most reliable and common plot devices. What isn't common is cover art that depicts the precise moment of being caught. Of all the cover collections we've put together, this was the hardest one for which to find examples, simply because there are no easy search parameters. We managed a grand total of sixteen (yes, there's a third person on the cover of Ed Schiddel's The Break-Up—note the hand pushing open the door). The artists here are L.B. Cole, Harry Schaare, Tom Miller, Bernard Safran, and others. And we have two more excellent examples of this theme we posted a while back. Check here and here.
We'll play the corporate merger game later. Just this once I actually need you to type something.
Above you see a cover for Sin Now, Pay Later, which was written by Allan Horn, the keen literary mind behind such books as Molester's Trap and Whore from Maupin Street. And you wonder why all these guys wrote under pseudonyms. Sin Now, Pay Later is 1967 with cover art by Paul Rader.
Actually, I'm not nicknamed Flame because of my hair. You know what pyroflatulence is? Toss me that lighter.
Above, another great Midwood cover, this time for Flame, by sleaze stalwart Joan Ellis, aka Julie Ellis. The art is, sadly, uncredited (but looks like Paul Rader).
I'm sorry but I'll have to get dressed. Your insurance company just informed us they won't pay for physical therapy.
If anyone ever had a reason to back universal healthcare it would be the patient denied the joys of sexual healing by the for-profit system. Kimberly Kemp's Intimate Nurse deals with a highly sexed live-in medical professional who brings trouble to an unsuspecting family. You know the drill—the healing lasts until the hurting begins.
Kemp was a pseudonym used by Gilbert Fox, who wrote such sleaze classics as Operation: Sex and Illicit Interlude. Those sound fun, but we especially love nurse novels. And who wouldn't, with examples like this and this out there? We'll have more from Kemp later. The above effort was published in 1962, and the art is uncredited.
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