Pulp Art Illustration Soceity of America 2011 Robert Lesser Collection George Rozen

Fiction magazines made from 1896 to the 1950s

Lurid magazines (often referred to as "the pulps") were inexpensive fiction magazines that were published from 1896 to the tardily 1950s. The term "pulp" derives from the cheap wood pulp paper on which the magazines were printed. In dissimilarity, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was seven inches (18 cm) wide by 10 inches (25 cm) loftier, and 0.5 inches (one.3 cm) thick, with ragged, untrimmed edges.

The pulps gave rise to the term lurid fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, and short-fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject area matter, fifty-fifty though this was just a pocket-size part of what existed in the pulps. Successors of pulps include paperback books, digest magazines, and men's adventure magazines. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such equally Flash Gordon, The Shadow, Doc Vicious, and The Phantom Detective.

History [edit]

Origins [edit]

The offset "lurid" was Frank Munsey's revamped Argosy magazine of 1896, with well-nigh 135,000 words (192 pages) per consequence, on pulp paper with untrimmed edges, and no illustrations, even on the cover. The steam-powered printing press had been in widespread use for some time, enabling the smash in dime novels; prior to Munsey, however, no one had combined cheap printing, cheap paper and inexpensive authors in a parcel that provided affordable entertainment to young working-class people. In vi years, Argosy went from a few one thousand copies per month to over half a meg.^[i]

Street & Smith, a dime novel and boys' weekly publisher, was next on the market place. Seeing Argosy 's success, they launched The Pop Mag in 1903, which they billed equally the "biggest magazine in the world" past virtue of its beingness two pages (the interior sides of the front and back comprehend) longer than Argosy. Due to differences in page layout withal, the mag had substantially less text than Argosy. The Popular Mag did introduce color covers to lurid publishing, and the mag began to accept off when in 1905 the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt.^[two] In 1907, the comprehend price rose to 15 cents and 30 pages were added to each issue; forth with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy. Street and Smith'due south next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such every bit detective stories, romance, etc.^[3]

Cover of the lurid magazine Spicy Detective Stories vol. ii, #6 (April 1935) featuring "Bullet from Nowhere" by Robert Leslie Bellem

Peak of popularity [edit]

At their pinnacle of popularity in the 1920s–1940s,^[4] the near successful pulps sold upward to one million copies per issue. In 1934, Frank Gruber said in that location were some 150 pulp titles. The most successful lurid magazines were Argosy, Chance, Blueish Book and Short Stories, collectively described by some lurid historians as "The Large Four".^[5] Among the all-time-known other titles of this menses were Astonishing Stories, Blackness Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Curiosity Tales,^[half-dozen] Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine.^[6]

During the economical hardships of the Great Depression, pulps provided affordable content to the masses, and were one of the principal forms of entertainment, along with pic and radio.^[4]

Although pulp magazines were primarily an American miracle, there were also a number of British pulp magazines published between the Edwardian era and World War Ii. Notable U.k. pulps included Pall Mall Magazine, The Novel Mag, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Run a risk-Story and Hutchinson'due south Mystery-Story.^[7] The High german fantasy magazine Der Orchideengarten had a similar format to American lurid magazines, in that information technology was printed on rough lurid paper and heavily illustrated.^[8]

World War Ii and marketplace decline [edit]

Lurid magazines began to pass up during the 1940s, giving way to paperbacks, comics and digest-sized novels.

During the 2nd World War newspaper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Beginning with Ellery Queen's Mystery Mag in 1941, pulp magazines began to switch to digest size; smaller, thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in gild to motion upmarket and produce slicks.^[9]

Contest from comic-books and paperback novels further eroded the pulps' marketshare, but it was the widespread expansion of television that sounded the death knell of the pulps.^[4] In a more than flush post-state of war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's run a risk magazines began to supervene upon the pulp.

The 1957 liquidation of the American News Company, then the main distributor of pulp magazines, has sometimes been taken as marker the end of the "pulp era"; by that date, many of the famous pulps of the previous generation, including Blackness Mask, The Shadow, Doc Cruel, and Weird Tales, were defunct.^[1] Almost all of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to "digest size", such as Analog Scientific discipline Fiction and Fact and Ellery Queen's Mystery Magazine. The format is still in utilise for some lengthy serials, like the High german science fiction weekly Perry Rhodan (over 3,000 issues as of 2019).

Over the course of their evolution, in that location were a huge number of pulp mag titles; Harry Steeger of Popular Publications claimed that his company lone had published over 300, and at their peak they were publishing 42 titles per month.^[10] Many titles of form survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly.

The collapse of the pulp industry inverse the landscape of publishing because pulps were the unmarried largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves past creating fiction switched to novels and book-length anthologies of shorter pieces. Some ex-pulp writers like Hugh B. Cavern and Robert Leslie Bellem moved on to writing for tv set by the 1950s.

Genres [edit]

Pulp magazines often contained a wide variety of genre fiction, including, but not limited to,

hazard
aviation
detective/mystery
espionage
fantasy
gangster
horror/occult (including "weird menace")
humor
railroad
romance
science fiction
Série Noire (French offense mystery)
"spicy/saucy" (soft porn)
sports
war
Westerns (also see dime Western); the Colorado artist Arthur Roy Mitchell is especially known for his sketches of the covers of such western magazines.

The American Old W was a mainstay genre of early turn of the 20th century novels equally well as after pulp magazines, and lasted longest of all the traditional pulps. In many ways, the later men'southward take a chance ("the sweats") was the replacement of pulps.

Many archetype scientific discipline fiction and offense novels were originally serialized in pulp magazines such as Weird Tales, Amazing Stories, and Black Mask.

Notable original characters [edit]

While the bulk of lurid magazines were album titles featuring many different authors, characters and settings, some of the nigh indelible magazines were those that featured a unmarried recurring character. These were ofttimes referred to as "hero pulps" because the recurring character was about e'er a larger-than-life hero in the mold of Physician Savage or The Shadow.^[11]

Popular pulp characters that headlined in their own magazines:

The Avenger
The Blackness Bat
Captain Future
El Coyote
Dan Turner, Hollywood Detective
Doc Savage
Doc Death
Dr. Yen Sin
G-8
Hopalong Cassidy
Ka-Zar
Lord Lister (aka Raffles)
Nick Carter
Operator No. five
The Phantom Detective
Hush-hush Agent 10
The Shadow
The Spider

Popular pulp characters who appeared in anthology titles such equally All-Story or Weird Tales:

Biggles
Bran Mak Forenoon
Buck Rogers
Conan the Barbarian
The Continental Op
Domino Lady
The Eel
Green Lama
Jim Anthony
John Carter of Mars
Jules de Grandin
Khlit the Cossack
Kull
Moon Homo
Sexton Blake
Solomon Kane
Tarzan
Zorro

Illustrators [edit]

Pulp covers were printed in colour on higher-quality (slick) newspaper. They were famous for their half-dressed damsels in distress, usually awaiting a rescuing hero. Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could avowal covers past some distinguished American artists; The Popular Magazine had covers by N.C. Wyeth, and Edgar Franklin Wittmack contributed encompass art to Argosy ^[12] and Short Stories.^[13] Subsequently, many artists specialized in creating covers mainly for the pulps; a number of the well-nigh successful encompass artists became every bit pop as the authors featured on the interior pages. Among the nigh famous pulp artists were Walter Baumhofer, Earle K. Bergey, Margaret Brundage, Edd Cartier, Virgil Finlay, Frank R. Paul, Norman Saunders, Emmett Watson, Nick Eggenhofer, (who specialized in Western illustrations), Hugh J. Ward, George Rozen, and Rudolph Belarski.^[14] Covers were important enough to sales that sometimes they would be designed beginning; authors would then be shown the cover art and asked to write a story to match.

Afterwards pulps began to characteristic interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the aforementioned foam-colored paper used for the text, and had to use specific techniques to avoid blotting on the fibroid texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was past crosshatching or pointillism, and even that had to exist limited and fibroid. Usually the art was blackness lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large night areas.

[edit]

Another way pulps kept costs downwardly was past paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful plenty to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to meet their words in print and could thus exist paid token amounts.^[xv]

At that place were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, frequently with the aid of dictation to stenographers, machines or typists. Earlier he became a novelist, Upton Sinclair was turning out at least 8,000 words per twenty-four hours seven days a week for the pulps, keeping 2 stenographers fully employed. Pulps would oftentimes take their authors utilize multiple pen names so that they could use multiple stories by the same person in one issue, or use a given writer'due south stories in 3 or more successive issues, while yet appearing to have varied content. Ane advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might exist accepted months or even years earlier publication, to a working author this was a crucial difference in cash flow.

Some pulp editors became known for cultivating practiced fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman (Adventure),^[16] Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories),^[17] Donald Kennicott (Blueish Book), Joseph T. Shaw (Black Mask), Farnsworth Wright (Weird Tales, Oriental Stories), John W. Campbell (Astounding Science Fiction, Unknown) and Daisy Salary (Honey Story Magazine, Detective Story Magazine).^[eighteen]

Authors featured [edit]

Well-known authors who wrote for pulps include:

Poul Anderson
Isaac Asimov
Charles Beadle
H. Bedford-Jones
Robert Leslie Bellem
E. F. Benson
Alfred Bester
Robert Bloch
B. M. Bower
Leigh Brackett
Ray Bradbury
Max Make
William Brandon
Fredric Brown
John Buchan
F. R. Buckley
Edgar Rice Burroughs
William Southward. Burroughs
Ellis Parker Butler
Hugh B. Cave
Paul Chadwick
Raymond Chandler
Agatha Christie
Arthur C. Clarke
Joseph Conrad
Stephen Crane
Ray Cummings
Tom Curry
Lester Paring
Baronial Derleth
Philip K. Dick
J. Allan Dunn
Lord Dunsany
C. M. Eddy, Jr.
Arthur Guy Empey
George Allan England
Philip José Farmer
C. South. Forester
F. Scott Fitzgerald
Arthur O. Friel
Erle Stanley Gardner
Walter B. Gibson
David Goodis
L. Patrick Greene
Zane Grayness
Frank Gruber
H. Rider Haggard
Edmond Hamilton
Dashiell Hammett
Margie Harris
Victor Headley
Robert A. Heinlein
O. Henry
Frank Herbert
Robert E. Howard
50. Ron Hubbard
Carl Jacobi
John Jakes
Ardyth Kennelly
Donald Keyhoe
Rudyard Kipling
Henry Kuttner
Harold Lamb
Louis L'Amour
Margery Lawrence
Fritz Leiber
Murray Leinster
Elmore John Leonard
Jack London
H. P. Lovecraft
Giles A. Lutz
John D. MacDonald
William Colt MacDonald
Elmer Dark-brown Bricklayer
F. Van Wyck Stonemason
Horace McCoy
Johnston McCulley
Eldred Kurtz Means
Merriam Modell
C. L. Moore
Frederick Ferdinand Moore
Walt Morey
Talbot Mundy
Philip Francis Nowlan
Fulton Oursler
Hugh Pendexter
Emil Petaja
East. Hoffmann Price
Ellery Queen
Seabury Quinn
John H. Reese
Arthur B. Reeve
Tod Robbins
Sax Rohmer
Theodore Roscoe
Rafael Sabatini
Charles Alden Seltzer
Stephen Shadegg
Richard S. Shaver
Robert Silverberg
Bertrand William Sinclair
Upton Sinclair
Arthur D. Howden Smith
Clark Ashton Smith
E. East. Smith
Mickey Spillane
T. Due south. Stribling
Jim Thompson
Thomas Thursday
Due west. C. Tuttle
Mark Twain
Jack Vance
E. C. Vivian
Edgar Wallace
H. G. Wells
Henry Southward. Whitehead
Raoul Whitfield
Tennessee Williams
P. Thou. Wodehouse
Cornell Woolrich
Gordon Immature

Sinclair Lewis, offset American winner of the Nobel Prize in Literature, worked as an editor for Gamble, writing filler paragraphs (cursory facts or amusing anecdotes designed to fill small gaps in page layout), advertising re-create and a few stories.^[nineteen]

Publishers [edit]

Encompass of the pulp magazine Dime Mystery Book Mag, January 1933

A. A. Wyn's Magazine Publishers
Better/Standard/Thrilling (The Thrilling Group) published Captain Future and Startling Stories
William Clayton published Ginger Stories, Pep Stories and Snappy Stories
Columbia Publications published Future Scientific discipline Fiction, Science Fiction, and Scientific discipline Fiction Quarterly
Dell Publishing published I Confess
Harry Donenfeld published Hot Stories, Joy Stories, Juicy Tales and Spicy Stories
Doubleday, Folio and Visitor published Short Stories, W and The Borderland
Fiction Business firm published Planet Stories
Frank A. Munsey Co. published Argosy
Harold Hersey
Harry Donenfeld'southward Culture Publications published Spicy Detective, Spicy Mystery and Spicy Hazard
Hugo Gernsback published Amazing Stories and Wonder Stories
J.C.Henneberger'due south Rural Publications published Weird Tales and Oriental Tales
Martin Goodman published Ka-Zar, Marvel Tales and Marvel Science Stories
Hutchinson, master publisher of UK pulps^[7]
Popular Publications published Horror Stories, Black Mask, True Love and later Argosy
The Ridgway Visitor published Adventure, Everybody's Mag and Romance
Street & Smith published Astounding, Unknown, Doc Fell and The Shadow
Courtland Immature's C.H. Young Publishing published Breezy Stories
Dave Martel publishes Bizarchives

Legacy [edit]

The term pulp fiction is often incorrectly used for massmarket paperbacks since the 1950s. The Browne Popular Culture Library News noted:

Many of the paperback houses that contributed to the decline of the genre–Ace, Dell, Avon, among others–were actually started by pulp magazine publishers. They had the presses, the expertise, and the newsstand distribution networks which fabricated the success of the mass-market paperback possible. These pulp-oriented paperback houses mined the quondam magazines for reprints. This kept lurid literature, if not pulp magazines, alive. The Return of the Continental Op reprints material first published in Black Mask; Five Sinister Characters contains stories first published in Dime Detective; and The Pocket Book of Scientific discipline Fiction collects material from Thrilling Wonder Stories, Astounding Scientific discipline Fiction and Astonishing Stories.^[20] But note that mass market paperbacks are not pulps.

In 1991, The Pulpster debuted at that year's Pulpcon, the annual pulp mag convention that had begun in 1972. The magazine, devoted to the history and legacy of the lurid magazines, has published each year since. Information technology now appears in connection with PulpFest, the summertime pulp convention that grew out of and replaced Pulpcon. The Pulpster was originally edited past Tony Davis and is currently edited by William Lampkin, who also runs the website ThePulp.Net. Contributors have included Don Hutchison, Robert Sampson, Volition Murray, Al Tonik, Nick Carr, Mike Resnick, Hugh B. Cave, Joseph Wrzos, Jessica Amanda Salmonson, Chet Williamson, and many others. ^[21]

In 1992, Rich Westward. Harvey came out with a mag called Pulp Adventures reprinting old classics. It came out regularly until 2001, and then started upwardly over again in 2014.^[22]

In 1994, Quentin Tarantino directed the moving-picture show Pulp Fiction. The working title of the film was Blackness Mask,^[23] in homage to the pulp mag of that name, and it embodied the seedy, violent, often law-breaking-related spirit plant in lurid magazines.

In 1997 C. Cazadessus Jr. launched Pulpdom, a continuation of his Hugo Award-winning ERB-dom which began in 1960. It ran for 75 issues and featured manufactures about the content and selected fiction from the pulps. It became Pulpdom Online in 2013 and continues quarterly publication.

After the year 2000, several small independent publishers released magazines which published short fiction, either short stories or novel-length presentations, in the tradition of the pulp magazines of the early 20th century. These included Claret 'N Thunder, High Gamble and a short-lived magazine which revived the title Argosy. These specialist publications, printed in express press runs, were pointedly non printed on the brittle, loftier-acid wood pulp paper of the onetime publications and were non mass market publications targeted at a wide audience. In 2004, Lost Continent Library published Secret of the Amazon Queen past E.A. Guest, their first contribution to a "New Pulp Era", featuring the hallmarks of pulp fiction for contemporary mature readers: violence, horror and sex. East.A. Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen Male monarch by real-life explorer David Hatcher Childress.

In 2002, the tenth outcome of McSweeney's Quarterly was guest edited by Michael Chabon. Published as McSweeney'south Mammoth Treasury of Thrilling Tales, it is a collection of "pulp fiction" stories written by such current well-known authors equally Stephen King, Nick Hornby, Aimee Bender and Dave Eggers. Explaining his vision for the project, Chabon wrote in the introduction, "I think that we have forgotten how much fun reading a short story can exist, and I hope that if nothing else, this treasury goes some small altitude toward reminding the states of that lost but fundamental truth."

The Scottish publisher DC Thomson publishes "My Weekly Compact Novel" every week.^[24] It is literally a pulp novel, though information technology does not fall into the hard-edged genre near associated with pulp fiction.^{[ citation needed ]}

From 2006 through 2019, Anthony Tollin's imprint Sanctum Books has reprinted all 182 Medico SAVAGE lurid novels, all 24 of Paul Ernst's AVENGER novels, the 14 WHISPERER novels from the original pulp series and all just three novels of the entire run of THE SHADOW (well-nigh of his publications featuring 2 novels in one book).^[25]

In 2021 Dave Martel started to release issues of Bizarchives which is a publication of modern 24-hour interval pulp fiction and weird tales.

See besides [edit]

B movie
Crimefighters
Dime novel
George Kelley Paperback and Pulp Fiction Drove
Hard Example Crime
Il Giallo Mondadori
Science fiction magazine

References [edit]

^ ^a ^b "A Two-Infinitesimal History of the Pulps", in The Take a chance Firm Guide to the Pulps, edited by Doug Ellis, John Locke, and John Gunnison. Silverish Spring, Physician, Chance House, 2000. (p. ii–iv).
^ See Lee Server, Encyclopedia of Lurid Fiction Writers (2002), pg.131.
^ Reynolds, Quentin. The Fiction Factory ; Or, From Pulp Row to Quality Street: The Story of 100 Years of Publishing at Street & Smith. Random House, 1955. (Covers: Street & Smith, Nick Carter, Max Make, Buffalo Beak, Frank Merriwell, Gerald Smith, Richard Duffy, Frederick Faust, dime novel, Horatio Alger, Henry Ralston, Ned Buntline, Ormond Smith, Beadle'due south, Edward Stratemeyer, detective fiction, Laura Jean Libbey, Astounding Science Fiction, Edith Evans)
^ ^a ^b ^c "Pulp Illustration: Pulp Magazines - Analogy History". www.illustrationhistory.org . Retrieved 2020-01-22 .
^ Hulse, Ed. (2009) "The Big Iv (Plus One)" in The Claret 'n' Thunder Guide to Collecting Pulps. Murania Printing, ISBN 0-9795955-0-9 (pp. 19–47).
^ ^a ^b Server, Lee (1993). Danger Is My Concern: an illustrated history of the Fabled Pulp Magazines. San Francisco: Chronicle Books. pp. 62–65. ISBN978-0-8118-0112-6.
^ ^a ^b Ashley, Michael (2006). The Age of the Storytellers: British Popular Fiction Magazines, 1880–1950. British Library. ISBN one-58456-170-X
^ "Orchideengarten, Der". in: Thou.B. Tymn and Mike Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines. Westport: Greenwood, 1985. pp. 866. ISBN 0-313-21221-Ten
^ Ashley , Michael. The history of the science-fiction magazine: the story of the science-fiction magazines from 1950 to 1970, Transformations, Book 2 (2005), pg. iii ISBN 978-0-85323-779-two
^ Haining, Peter (1975). The Fantastic Pulps. Vintage Books, a division of Random House. ISBN0-394-72109-8.
^ Hutchison, Don (1995). The Neat Lurid Heroes. Mosaic Press. ISBN0-88962-585-ix.
^ Hulse, Ed (2009). The Blood 'n' Thunder Guide to Collecting Pulps. Muriana Press. pp. 26, 163. ISBN978-0979595509.
^ Robinson, Frank G., and Davidson, Lawrence. Lurid Culture – The Fine art of Fiction Magazines. Collectors Press, 2007. ISBN 1-933112-thirty-1 (p.42).
^ The Take chances Business firm Guide to the Pulps, edited by Doug Ellis, John Locke, and John Gunnison. Silver Spring, Physician, Adventure Firm, 2000. (p. xi–xii).
^ John A. Dinan, Sports in the Lurid Magazines. McFarland, 1998, ISB0786404817 (pp. 130–32).
^ Bleiler,Richard "Forgotten Behemothic: Hoffman's Adventure". Regal Prose Magazine, November 1998, p. 3-12.
^ Sampson,Robert.(1991) Yesterday's Faces:Dangerous Horizons Popular Press, 1991, (p.87).
^ Locke, John ed. "Editors You lot Desire to Know: Daisy Bacon" by Joa Humphrey in Pulpwood Days: Editors You Want to Know. Off-Trail, 2007. ISBN 0-9786836-2-five (p. 77). Daisy Bacon (1899?–1986) was nicknamed "Queen of the Woodpulps".
^ Schorer, M. Sinclair Lewis: An American Life, pp. 3–22. McGraw-Hill, 1961.
^ "They Came from the Newsstand: Pulp Magazines from the Browne Library". Browne Popular Culture Library News. Bowling Green State University. 31 May 1994. Archived from the original on October 6, 2011. Retrieved October 22, 2009.
^ "Nigh "The Pulpster"". The Pulpster. v March 2021.
^ Stephensen-Payne, Phil (2018). "Pulp Adventures". Magazine Data File.
^ "Pulp Fiction (1994) - Release Info" – via IMDb.
^ "DC Thomson Shop – Dwelling Folio". Dcthomson.co.uk. Archived from the original on Baronial eighteen, 2010. Retrieved December 8, 2010.
^ "Ten Years in the Shadow'southward Sanctum — Anthony Tollin'south Sanctum Books – PulpFest".

Sources [edit]

Chambliss, Julian and William Svitavsky, "From Lurid Hero to Superhero: Civilisation, Race, and Identity in AmericanPopular Culture, 1900–1940," Studies in American Culture 30 (1) (October 2008)
Ellis, Doug. Uncovered: The Hidden Fine art of the Girlie Pulps – Aureate Medal Winner for Best Popular Culture Book BEA 2004 (Adventure House, −2003) ISBN ane-886937-74-5
Gunnison, Locke and Ellis. Chance House Guide to the Pulps (Hazard Business firm, 2000) ISBN 1-886937-45-one
Hersey, Harold. The New Pulpwood Editor (Adventure House, 2003) ISBN 1-886937-68-0
Lesser, Robert. Pulp Art: Original Cover Paintings for the Dandy American Pulp Magazines (Book Sales, 2003) ISBN 0-7858-1707-seven
Locke, John-editor. Pulp Fictioneers – Adventures in the Storytelling Business (Take a chance House, 2004) ISBN i-886937-83-4
Locke, John-editor. Pulpwood Days – Vol. ane Editors You Want To Know (Off-Trail Publications, 2007) ISBN 0-9786836-two-5
Parfrey, Adam, et al. It's a Human being's Globe: Men's Adventure Magazines, the Postwar Pulps (Feral Firm, 2003) ISBN 0-922915-81-4
Robinson, Frank and Davidson, Lawrence. Pulp Civilisation (Collector's Printing, 2007) ISBN 978-ane-933112-30-5

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Source: https://en.wikipedia.org/wiki/Pulp_magazine

Pulp Art Illustration Soceity of America 2011 Robert Lesser Collection George Rozen

History [edit]

Origins [edit]

Peak of popularity [edit]

World War Ii and marketplace decline [edit]

Genres [edit]

Notable original characters [edit]

Illustrators [edit]

[edit]

Authors featured [edit]

Publishers [edit]

Legacy [edit]

See besides [edit]

References [edit]

Sources [edit]

Further reading [edit]

External links [edit]

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