First of all, hell no. Second, why are you wearing lipstick? And third, crushed strawberry is not your color.
When it comes to mid-century fiction, basically all the guys had problems respecting women's boundaries. There are so many covers of the above type we could curate an entire collection. We can't think of any others, however, where the guy looks like he's wearing lipstick. We checked a few other examples of this one online, just in case this look was courtesy of some kid with a crayon, but he's wearing that crushed strawberry in all of them. Not that we disapprove. More guys probably should do it. We've done it, and it was fun, if not even educational. But maybe we're drilling too deep into this subject. Boundaries we were talking about, right? So, Mike Moran was aka Ben Kerr, Jonas Ward, and Thomas Wills, and this book deals with a private eye who takes a job bodyguarding a boxer who's run into problems as the night of a big bout approaches. Reviews are mixed to middling. But this cover opens the door to all sorts of discussion, which makes it worth sharing. 1953 on this.
You're too late. We all got dressed ten minutes ago.
Above, The Naked Hours by Wenzell Brown, for Popular Library, 1956, with unusual bright green art by an unknown. We knew nothing about the book or the author, but this cover, battered as it is, attracted us, so job well done there. The book is good. A guy with a serious alcohol problem goes on a bender and wakes up in a strange bed with a girl he doesn't remember meeting. But she's sexy as hell so he embarks on an affair with her that evolves into a half-serious plot to kill his rich wife. Once he realizes the plot is real, he can't get out because the original transgression—that of his infidelity—will get him divorced and booted out of the Upper Manhattan good life if it becomes known. So he keeps trying to finesse his way to a solution, which involves outsmarting two hitmen intent on spousal murder. Odds on getting out unscathed are not good, but in effective crime fiction the odds should never be good. Nice one from Brown. We'll be looking for more.
Arizona Jim? Never heard of him. I'm New Mexico Clarence. Totally different guy.
Above, Arizona Jim, by the prolific Charles Alden Seltzer, 1949, for Popular Library. A preacher named Jim McDonald shows up in the town of Red Rock and has to deal with a gang of local outlaws led by Flash Haddam. Usually, facing lawless thugs would be a big job for a preacher, but it's only a disguise—Jim is really a government lawman. Classic motifs, including romance with a local good girl. The paperback is fronted by cover art from an unknown.
You'll get nowhere fast with this book.
Popular Library made a habit of retitling novels if they thought the original was too esoteric. Many companies did it, but Popular Library had some notorious instances, including changing Ian Fleming's Casino Royale to You Asked for It. Speed Lamkin's The Easter Egg Hunt appeared in 1954 to reviews that ranged from cool to tepid, which was probably all the excuse Popular Library needed to rebrand and pulpify it for paperback release. Thus a year later Fast and Loose hit bookstores in a blaze of golden color from the exemplary brush of cover artist Rafael DeSoto, who was one of the top paperback illustrators going. This effort is typically flawless, and features the trademark textural background that makes his work so identifiable, such as here and here.
We gave Fast and Loose a read. You notice the cover quotes some reviewer or other saying the book is James M. Cainish. Lamkin is like Cain the way papier mache is like origami. They're both things you do with paper, but that's about it. Lamkin is more from the Capote or Fitzgerald schools of authoring. His book is also very similar to Ramona Stewart's forgotten novel The Surprise Party Complex, though Stewart's book came later. But both deal with the events of a summer in Hollywood. Where Stewart focuses on a trio of aimless teens, Lamkin writes about adults who, though they're producers, actors, and writers, are equally aimless, partying the days and nights away.
The main character Charley Thayer works for Life magazine, though never has work to do. He observes the celestial bodies in the orbit of wealthy Clarence Culvers, who has the best party house in Beverly Hills and is determined to make his young, volatile wife a star. The people in this crowd are shallow, selfish, and bigoted, and since Lamkin spent time in L.A. we can assume he's relating what he observed, or at least thought he observed. Frankly, these folks are all so tedious that when the expected tragedy finally occurs it's a relief to have one less horrible person in the world, even a fictional one. Speed needed a limit—to about two-thirds the number of pages. Then Fast and Loose might have worked.
Without getting too technical, you have a condition known as vaginitus neglectus. But there's a treatment for that.
More for the medical pulp bin, sleaze subset: Doctor Paradise, by Jay J. Dratler, with a physician who likes to practice internal medicine with his patients. Check a couple of other fun medical examples here and here.
Here's to us waking up bewildered and trying to piece together tonight from fragmentary memories and vague sensations of shame.
Above, a cover for Robert Tallant's Mrs. Candy and Saturday Night. Basically, a woman who runs a New Orleans boarding house filled with unusual renters and a ghost decides to throw a party, which turns out wilder than she expected and leads to some startling revelations about the occupants. Written to span twenty-four hours, the book was well received enough to spawn two sequels, Love and Mrs. Candy and Mrs. Candy Strikes It Rich. The success was not a surprise. Tallant was born in New Orleans, was already experienced writing about it through other published books, and obviously loved the place, quirks and all. If you're looking for real Crescent City feel in a mid-century novel, with jambalaya, voodoo, and all the rest, Mrs. Candy and Saturday Night is it. It's originally copyright 1947, with this Popular Library paperback with Earle Bergey cover art coming in 1951.
We both said many things last night. By light of day and from a perspective of total sobriety let's admit none of them were true.
The couple on this cover for Gertrude Walker's So Deadly Fair look less than thrilled to be together, but that happens, right? It was painted by Rafael DeSoto, and the book tells the story of a femme fatale who frames a guy for murder—her own. That sounds like we just spoiled the plot but the bulk of the narrative actually deals with what happens when the protagonist is paroled ten years later and has not, shall we say, reached a state of closure about how things went down. Revenge is a dish best served cold, especially when the recipient is your ex. Originally published as a hardback in 1948, this Popular Library edition appeared in 1952.
We're both starving, and frankly, the way he's behaved he's given us absolutely no reason not to eat him.
During the mid-century period, high quality cover art was seen as the key to paperback sales, thus many types of books received makeovers. Aussie novelist Ronald McKie's The Survivors is an example. You'd assume it was fiction but it's actually the true story of the Battle of Sunda Strait, which occurred in Indonesia between the islands of Java and Sumatra during World War II and pitted two Aussie cruisers against a major Japanese naval force. During a battle in which the outgunned Aussie ships fared better than could have been reasonably expected, both were sunk. In the aftermath a group of stranded men battled innumerable hazards in an attempt to survive. The book sprang from the handwritten account of an Aussie sailor who spent four years in a Japanese POW camp. He was a friend of McKie's, and when the author read the dairy pages he immediately decided to write a full accounting of the battle. As far as we know nobody ate anyone, but raft rides get pretty rough. The Survivors came out in hardback in 1953, with this Popular Library paperback appearing in 1954.
I could stop coloring it, I guess. But then I'd be a brunette again, and that's worse than dying young.
Above, an uncredited cover for Blondes Die Young by Bill Peters. The author is aka William P. McGivern, and the book is hard boiled action in Chicago's jazz clubs and dope dens, as the sleuth protagonist Bill Canalli tries to track down the culprit who murdered his girlfriend. Who by the way has barely cooled to room temperature before slick Bill beds another woman, but what's a hard boiled guy to do? Anything to get to the bottom—of the case. The hero's treatment of this woman will raise some eyebrows in this day and age, but this is still an involving tale and we like that it doesn't get too moralistic about the drugs angle. And we got it for four bucks, which is an absolute steal. It was written in 1952 originally, with this Popular Library paperback edition appearing in 1953.
Well, technically I belong to Lester back there, but if you've got the money I'm available as a rental.
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.
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