Category Archives: Vintage pulp paperback covers

Girl Gangs, Biker Boys & Real Cool Cats at the Bendigo Writers Festival

I am thrilled to be taking part in the 2018 Bendigo Writers Festival. The Festival, which takes place from August 10 to 12, is one of my favourite local writers festivals.

First up, I’ll be talking all things pulp fiction and the book I co-edited, Girl Gangs, Biker Boys & Real Cool Cats: Pulp Fiction & Youth Culture, 1950-1980, with fellow pop culture fiend, John Richards, at the La Trobe Art Institute, from 10am on Saturday, August 11. Copies of the book will also be for sale at the Festival.

On the Friday morning, August 10, from 9.30am to 12.30pm, I’ll be running a ‘Crime Starter’ workshop for new and emerging crime writers . I’ll cover the elements of a thrilling crime read and the rules of the genre, as well as providing tips on how to push through blockages and problem passages in your manuscript.

I’ll also be taking part in the festival debate ‘You Can Judge A Book By Its Genre’, with a group of talented writers.

So if you are in Bendigo or its environs and want to come to any of the events, grab a copy of the Girl Gangs book, or just say hello, it would be great to see you.

The full program for the Bendigo Writers Festival is available here.Read more

Pulp Friday: Paul Bishop & 52 Weeks: 52 Western Novels

Today I’m happy to host friend of pulp fiction lovers everywhere, Paul Bishop, to talk about a project he has been working on,52 Weeks • 52 Western Novels.

I have always been interested in the contradiction between how critically marginalised as a genre the Western is (and, arguably, always has been), compared with popular they continue to be. This is the case not just in the US but in Australia. The only remaining Australian pulp publisher still in business, Cleveland Publications, publishes Westerns. And go into any second hand bookstore, especially in regional Australia, and you are likely to find large a large number of westerns. That’s if they haven’t been snapped up, as was the case in a regional second hand bookshop I visited recently.

Anyway, Paul and his co-editor Scott Harris have done something too few people who examine pulp fiction and write about it, do – they actually read the novels and not just focus on the covers. The result is a wonderfully eclectic, in-depth look at the genre that is Western pulp fiction. The Western is an area of pulp fiction I have not really examined in any detail on my site, so I’m thrilled to have Paul here.

First up, well done on the book.Read more

Pulp Friday: Hell is a City

A very quick Pulp Friday offering, Maurice Procter’s Hell is a City, published by Arrow Books, 1957. I am not sure, but this edition may even be the first British release of the novel in paperback.

Procter was a former Manchester policeman turned crime writer, best known for his police procedurals featuring the character of Detective Chief Inspector Harry Martineau, based in a tough fictional northern England industrial town. Proctor penned 14 Martineau novels, which appeared between 1954  and 1969, of which Hell is a City was the first.

Two things have got me thinking about the Martineau books. The first is my PhD research at the moment, which has been looking at the prevalence of American style detective and PI crime fiction in the 1950s in the US, UK and Australia. Procter’s work is different from a lot of post-war British crime pulp, which was set in America.

I’ve also been reading Nick Triplow’s excellent biography of English crime writer, Ted Lewis, Getting Carter (which I’ll be reviewing on this site in the coming weeks).

Among the popular cultural touchstones, Triplow writes, that would inspire Lewis’s work, including the iconic series of British gangster novels featuring the character of Jack Carter, was the 1960 film adaption of Hell is City by Val Guest.… Read more

Pulp Friday: A Clockwork Orange

It has been a while between posts, I know. This site, as well as a number of other things in my life, has taken a back seat in order for me to meet a few pressing deadlines, in particular, working on a monograph for a English publisher on Norman Jewison’s 1975 dystopian science fiction classic, Rollerball.

While Jewison was not a great fan of science fiction he was impressed by two science fiction films, both of them made by Stanley Kubrick: 2001: A Space Odyssey (1968) and A Clockwork Orange, released in 1971 (although it was not released in Australian until 1988). It is this latter film that is the subject of today’s Pulp Friday post.

Published by Anthony Burgess in 1962, A Clockwork Orange is set in a near future dystopian England suffering from an epidemic of extreme youth violence and economic stagnation. The book’s teenage protagonist, Alex, narrates the story of his various criminal exploits and the subsequent efforts of the conservative state authorities to rehabilitate him, in a made up language Burgess called ‘Nadsat’.

Burgess’s own politics were conservative, with a streak of anarchism running through his thinking. He wrote A Clockwork Orange in three weeks, influenced by his views of the growing youth culture in early sixties England.… Read more

Mike Hodges’ Pulp & mass paperback fiction on the big screen

Caine in PulpThe opening credits of Mike Hodges’ under appreciated 1972 film, Pulp, are a delight for any fan of cheap pulp paperback fiction. As text roles across the screen (in type writer font, of course), the camera pans between the faces of the three female stenographers transcribing the words of sleazy English expat pulp writer, Mickey King (Michael Caine). As Caine’s nasal voice-over recites his latest novel, The Organ Grinder, we see the different reactions of the women, disgust, shock, and excitement. It’s a reminder that once, before it was reduced to an object of outre fascination for its cover art, pulp fiction elicited strong emotions.

The movie shifts to King, in his cheap white suit and big hair, Jack Carter – the character he played in Hodges’ Get Carter only a year earlier – gone to seed, stepping out of the Italian hotel he lives in to hail a cab. As he sits in the reception area waiting for his completed manuscript, King’s voice-over goes: “The writer’s life would be ideal but for the writing. This was a problem I had to overcome. Then I read the Guinness Book of Records about Earl Stanley Gardner, the world’s fastest novelist who would dictate up to the rate of ten thousand words every day.… Read more