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A team of experts in each of the ten major Pulp genres, from action
Pulps to spicy Pulps and more, chart for the first time the
complete history of Pulp magazines-the stories and their writers,
the graphics and their artists, and, of course, the publishers,
their market, and readers. Each chapter in the book, which is
illustrated with more than 400 examples of the best Pulp graphics
(many from the Editors' collections-among the world's largest) is
organized in a clear and accessible way, starting with an
introductory overview of the genre, followed by a selection of the
best covers and interior graphics, organized chronologically
through the chapter. All images are fully captioned (many are in
essence "nutshell" histories in themselves). Two special features
in each chapter focus on topics of particular interest (such as
extended profiles of Daisy Bacon, Pulp author and editor of Love
Story, the hugely successful romance Pulp, and of Harry Steeger,
co-founder of Popular Publications in 1930 and originator of the
"Shudder Pulp" genre). With an overall Introduction on "The Birth
of the Pulps" by Doug Ellis, and with two additional chapters
focusing on the great Pulp writers and the great Pulp artists, The
Art of the Pulps covers every aspect of this fascinating genre; it
is the first definitive visual history of the Pulps.
Big-city residents on both sides of the law regard him with equal
measures of fear and reticence. They know that whatever they're
doing, right or wrong, will sooner or later come to the attention
of Guy "Keyhole" Kerry, a wise-cracking, hard-charging journalist
who knows all and tells most of it. Kerry's profession brings him
into contact with all kinds of people, and the law of averages
guarantees that some of them are better left alone. But Keyhole
Kerry will risk anything for a scoop, even if it means becoming
embroiled in murder mysteries and making himself a target. This
relatively brief series (eight late Thirties entries) was written
for Dime Detective by Frederick C. Davis, a tireless pulp scribe
who sold more yarns to the magazine-73 in all-than any other
contributor save T.T. Flynn. With a half-dozen recurring characters
in this one rough-paper periodical, Davis was one of the many
talented contributors who made Dime Detective a prestigious crime
pulp second only to the legendary Black Mask in its impact on the
genre.
New York-based private investigator Cass Blue is a morally flexible
tough guy who backs up his hard-boiled rhetoric with frequent
applications of the blackjack he carries in a hip pocket. No case
is too seedy or sordid for him to take, and he's capable of taking
as much as he dishes out when it's necessary. The cops don't trust
him much more than they do the criminals, but that doesn't keep him
from giving clients full value for their retainers. With the
dubious assistance of speakeasy owner Al Lascoine, Cass sasses and
slugs his way through a succession of Depression-era adventures.
The Cass Blue yarns are related in the first person by stylish pulp
writer John Lawrence, who guides his protagonist through a maze of
conventional plots and countless gunfights. What the series lacks
in polish and innovation, it makes up for with vigorous action and
the tough-as-nails attitude that gave Dime Detective the
distinctive flavor that made it the most important crime pulp
excepting the legendary Black Mask.
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