Pulp magazine

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Spicy Mystery Stories, February 1936. Spicy Mystery Stories February 1936.jpg
Spicy Mystery Stories, February 1936.

Pulp magazines (often referred to as "the pulps") were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges.

Pulp (paper) fibrous material used notably in papermaking

Pulp is a lignocellulosic fibrous material prepared by chemically or mechanically separating cellulose fibres from wood, fiber crops, waste paper, or rags. Many kinds of paper are made from wood with nothing else mixed into them. This includes newspapers, magazines and even toilet paper. Pulp is one of the most abundant raw materials.

Contents

The pulps gave rise to the term pulp 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 matter. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as Flash Gordon, The Shadow, Doc Savage, and The Phantom Detective.

Penny dreadful Cheap popular serial literature produced during the nineteenth century in the United Kingdom

Penny dreadfuls were cheap popular serial literature produced during the nineteenth century in the United Kingdom. The pejorative term is roughly interchangeable with penny horrible, penny awful, and penny blood. The term typically referred to a story published in weekly parts, each costing one penny. The subject matter of these stories was typically sensational, focusing on the exploits of detectives, criminals, or supernatural entities. First published in the 1830s, penny dreadfuls featured characters such as Sweeney Todd, Dick Turpin and Varney the Vampire. The Guardian described penny dreadfuls as “Britain’s first taste of mass-produced popular culture for the young.”

Dime novel literary genre

The dime novel is a form of late 19th-century and early 20th-century U.S. popular fiction issued in series of inexpensive paperbound editions. The term dime novel has been used as a catchall term for several different but related forms, referring to story papers, five- and ten-cent weeklies, "thick book" reprints, and sometimes early pulp magazines. The term was used as a title as late as 1940, in the short-lived pulp magazine Western Dime Novels. In the modern age, the term dime novel has been used to refer to quickly written, lurid potboilers, usually as a pejorative to describe a sensationalized but superficial literary work.

Exploitation fiction is a type of literature that includes novels and magazines that exploit sex, violence, drugs, or other elements meant to attract readers primarily by arousing prurient interest without being labeled as obscene or pornographic.

History

Origins

The first "pulp" was Frank Munsey's revamped Argosy magazine of 1896, with about 135,000 words (192 pages) per issue, 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 boom in dime novels; prior to Munsey, however, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to young working-class people. In six years, Argosy went from a few thousand copies per month to over half a million. [1]

Frank Munsey United States publisher and author

Frank Andrew Munsey was an American newspaper and magazine publisher and author. He was born in Mercer, Maine, but spent most of his life in New York City. The village of Munsey Park, New York is named for him, along with the Munsey Building in downtown Baltimore, Maryland at the southeast corner of North Calvert Street and East Fayette Street.

Street & Smith, a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy's success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages (the interior sides of the front and back cover) longer than Argosy. Due to differences in page layout however, the magazine had substantially less text than Argosy. The Popular Magazine did introduce color covers to pulp publishing, and the magazine began to take 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. [2] In 1907, the cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy. Street and Smith's next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such as detective stories, romance, etc. [3]

Street & Smith New York City publisher

Street & Smith or Street & Smith Publications, Inc. was a New York City publisher specializing in inexpensive paperbacks and magazines referred to as dime novels and pulp fiction. They also published comic books and sporting yearbooks. Among their many titles was the science fiction pulp magazine Astounding Stories, acquired from Clayton Magazines in 1933, and retained until 1961. Street & Smith was founded in 1855, and was bought out in 1959. The Street & Smith headquarters was at 79 Seventh Avenue in Manhattan; it was designed by Henry F. Kilburn.

<i>The Popular Magazine</i>

The Popular Magazine was an early American literary magazine that ran for 612 issues from November 1903 to October 1931. It featured short fiction, novellas, serialized larger works, and even entire short novels. The magazine's subject matter ranged over a number of genres, although it tended somewhat towards men's adventure stories, particularly in the waning years of the publication when the vogue for hardboiled fiction was strong. The Popular Magazine touted itself as "a magazine for men and women who like to read about men." The magazine had its headquarters in New York City.

Page layout part of graphic design that deals in the arrangement of visual elements on a page

Page layout is the part of graphic design that deals in the arrangement of visual elements on a page. It generally involves organizational principles of composition to achieve specific communication objectives.

Cover of the pulp magazine Spicy Detective Stories vol. 2, #6 (April 1935) featuring "Bullet from Nowhere" by Robert Leslie Bellem Spicy Detective Stories April 1935.jpg
Cover of the pulp magazine Spicy Detective Stories vol. 2, #6 (April 1935) featuring "Bullet from Nowhere" by Robert Leslie Bellem

Peak of popularity

At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue. In 1934, Frank Gruber (writer) said there were some 150 pulp titles. The most successful pulp magazines were Argosy , Adventure , Blue Book and Short Stories , collectively described by some pulp historians as "The Big Four". [4] Among the best-known other titles of this period were Amazing Stories , Black Mask , Dime Detective, Flying Aces , Horror Stories , Love Story Magazine , Marvel Tales , [5] Oriental Stories , Planet Stories , Spicy Detective, Startling Stories , Thrilling Wonder Stories , Unknown , Weird Tales and Western Story Magazine . [5]

Argosy, later titled The Argosy and Argosy All-Story Weekly, was an American pulp magazine from 1882 through 1978, published by Frank Munsey. It is the first American pulp magazine. The magazine began as a children's weekly story–paper entitled The Golden Argosy. In the era before the Second World War, Argosy was regarded as one of the "Big Four" pulp magazines, - the most prestigious publications in the pulp market, that many pulp magazine writers aspired to publish in. John Clute, discussing the American pulp magazines in the first two decades of the twentieth century, has described The Argosy and its companion All-Story as "the most important pulps of their era."

<i>Adventure</i> (magazine) American pulp magazine 1910 to 1971; 881 issues (usu. monthly)

Adventure was an American pulp magazine that was first published in November 1910 by the Ridgway company, an offshoot of the Butterick Publishing Company. Adventure went on to become one of the most profitable and critically acclaimed of all the American pulp magazines. The magazine had 881 issues. The magazine's first editor was Trumbull White, he was succeeded in 1912 by Arthur Sullivant Hoffman (1876–1966), who would edit the magazine until 1927.

<i>Blue Book</i> (magazine)

Blue Book was a popular 20th-century American magazine with a lengthy 70-year run under various titles from 1905 to 1975. It was a sibling magazine to Redbook and The Green Book Magazine.

Although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine , The Novel Magazine, Cassell's Magazine , The Story-Teller , The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story. [6] The German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated. [7]

Edwardian era historical period (1901–1910)

The Edwardian era or Edwardian period of British history covers the brief reign of King Edward VII, 1901 to 1910, and is sometimes extended in both directions to capture long-term trends from the 1890s to the First World War. The death of Queen Victoria in January 1901 marked the end of the Victorian era. Her son and successor, Edward VII, was already the leader of a fashionable elite that set a style influenced by the art and fashions of continental Europe. Samuel Hynes described the Edwardian era as a "leisurely time when women wore picture hats and did not vote, when the rich were not ashamed to live conspicuously, and the sun really never set on the British flag."

World War II 1939–1945 global war

World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945. The vast majority of the world's countries—including all the great powers—eventually formed two opposing military alliances: the Allies and the Axis. A state of total war emerged, directly involving more than 100 million people from over 30 countries. The major participants threw their entire economic, industrial, and scientific capabilities behind the war effort, blurring the distinction between civilian and military resources. World War II was the deadliest conflict in human history, marked by 50 to 85 million fatalities, most of whom were civilians in the Soviet Union and China. It included massacres, the genocide of the Holocaust, strategic bombing, premeditated death from starvation and disease, and the only use of nuclear weapons in war.

<i>Cassells Magazine</i>

Cassell's Magazine is a British magazine that was published monthly from 1897 to 1912. It was the successor to Cassell's Illustrated Family Paper, (1853–1867) becoming Cassell's Family Magazine in 1874, Cassell's Magazine in 1897, and, after 1912, Cassell's Magazine of Fiction.

World War II and market decline

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Two complete science adventure books 1952sum n6.jpg
Tops in Science Fiction Fall 1953.jpg
Pulp magazines began to decline during the 1940s, giving way to paperbacks, comics and digest-sized novels.

During the Second World War paper 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 Magazine in 1941, pulp magazines began to switch to digest size; smaller, thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks. [8]

The pulp format declined from rising expenses, but even more due to the heavy competition from comic books, television, and the paperback novel. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines began to replace the pulp.

The 1957 liquidation of the American News Company, then the primary distributor of pulp magazines, has sometimes been taken as marking the end of the "pulp era"; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow, Doc Savage, 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 Science Fiction and Fact and Ellery Queen's Mystery Magazine . The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan (over 3,000 issues as of 2019).

Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. [9] Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly.

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

Genres

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

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

Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales , Amazing Stories , and Black Mask .

Notable original characters

While the majority of pulp magazines were anthology titles featuring many different authors, characters and settings, some of the most enduring magazines were those that featured a single recurring character. These were often referred to as "hero pulps" because the recurring character was almost always a larger-than-life hero in the mold of Doc Savage or The Shadow. [10]

Popular pulp characters that headlined in their own magazines:

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

Illustrators

Pulp covers were printed in color on higher-quality (slick) paper. 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 boast covers by some distinguished American artists; The Popular Magazine had covers by N.C. Wyeth, and Edgar Franklin Wittmack contributed cover art to Argosy [11] and Short Stories. [12] Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as the authors featured on the interior pages. Among the most famous pulp artists were Walter Baumhofer, Earle K. Bergey, Margaret Brundage, Edd Cartier, Virgil Finlay, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Hugh J. Ward, George Rozen, and Rudolph Belarski. [13] Covers were important enough to sales that sometimes they would be designed first; authors would then be shown the cover art and asked to write a story to match.

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

Authors and editors

Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough 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 see their words in print and could thus be paid token amounts. [14]

There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers, machines or typists. Before he became a novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.

Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman ( Adventure) , [15] Robert H. Davis ( All-Story Weekly ), Harry E. Maule ( Short Stories ), [16] Donald Kennicott ( Blue Book ), Joseph T. Shaw ( Black Mask ), Farnsworth Wright ( Weird Tales , Oriental Stories ), John W. Campbell ( Astounding Science Fiction , Unknown ) and Daisy Bacon (Love Story Magazine, Detective Story Magazine). [17]

Well-known authors who wrote for pulps include:

Sinclair Lewis, first American winner of the Nobel Prize in Literature, worked as an editor for Adventure , writing filler paragraphs (brief facts or amusing anecdotes designed to fill small gaps in page layout), advertising copy and a few stories. [18]

Publishers

Cover of the pulp magazine Dime Mystery Book Magazine, January 1933 Dime Mystery Book Magazine January 1933.jpg
Cover of the pulp magazine Dime Mystery Book Magazine, January 1933

Legacy

The term pulp fiction can also refer to mass market 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 made the success of the mass-market paperback possible. These pulp-oriented paperback houses mined the old magazines for reprints. This kept pulp 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 Science Fiction collects material from Thrilling Wonder Stories, Astounding Science Fiction and Amazing Stories. [19] But note that mass market paperbacks are not pulps.

In 1992, Rich W. Harvey came out with a magazine called Pulp Adventures reprinting old classics. It came out regularly until 2001, and then started up again in 2014. [20]

In 1994, Quentin Tarantino directed the film Pulp Fiction . The working title of the film was Black Mask, [21] in homage to the pulp magazine of that name, and it embodied the seedy, violent, often crime-related spirit found in pulp 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 articles 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 Blood 'N Thunder, High Adventure and a short-lived magazine which revived the title Argosy. These specialist publications, printed in limited press runs, were pointedly not printed on the brittle, high-acid wood pulp paper of the old publications and were not mass market publications targeted at a wide audience. In 2004, Lost Continent Library published Secret of the Amazon Queen by 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. E.A. Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen King by real-life explorer David Hatcher Childress.

In 2002, the tenth issue of McSweeney's Quarterly was guest edited by Michael Chabon. Published as McSweeney's Mammoth Treasury of Thrilling Tales, it is a collection of "pulp fiction" stories written by such current well-known authors as 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 be, and I hope that if nothing else, this treasury goes some small distance toward reminding us of that lost but fundamental truth."

The Scottish publisher DC Thomson publishes "My Weekly Compact Novel" every week. [22] It is literally a pulp novel, though it does not fall into the hard-edged genre most associated with pulp fiction.[ citation needed ]

In 2010, Pro Se Press released three new pulp magazines Fantasy & Fear, Masked Gun Mystery and Peculiar Adventures. In 2011, they amalgamated the three titles into one magazine Pro Se Presents which came out regularly until Winter/Spring 2014. [23]

See also

Related Research Articles

<i>Weird Tales</i> US pulp fantasy magazine

Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in late 1922. The first issue, dated March 1923, appeared on newsstands February 18. The first editor, Edwin Baird, printed early work by H. P. Lovecraft, Seabury Quinn, and Clark Ashton Smith, all of whom would go on to be popular writers, but within a year the magazine was in financial trouble. Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger and refinanced Weird Tales, with Farnsworth Wright as the new editor. The first issue under Wright's control was dated November 1924. The magazine was more successful under Wright, and despite occasional financial setbacks it prospered over the next fifteen years. Under Wright's control the magazine lived up to its subtitle, "The Unique Magazine", and published a wide range of unusual fiction.

Carl Richard Jacobi American writer

Carl Richard Jacobi was an American journalist and author. He wrote short stories in the horror and fantasy genres for the pulp magazine market, appearing in such pulps of the bizarre and uncanny as Thrilling, Ghost Stories, Startling Stories, Thrilling Wonder Stories and Strange Stories. He also wrote stories crime and adventure which appeared in such pulps as Thrilling Adventures, Complete Stories, Top-Notch, Short Stories, The Skipper, Doc Savage and Dime Adventures Magazine. He also produced some science fiction, mainly space opera, published in such magazines as Planet Stories. He was one of the last surviving pulp-fictioneers to have contributed to the legendary American horror magazine Weird Tales during its "glory days". His stories have been translated into French, Swedish, Danish and Dutch.

<i>Unknown</i> (magazine) US pulp fantasy magazine published from 1939 to 1943

Unknown was an American pulp fantasy fiction magazine, published from 1939 to 1943 by Street & Smith, and edited by John W. Campbell. Unknown was a companion to Street & Smith's science fiction pulp, Astounding Science Fiction, which was also edited by Campbell at the time; many authors and illustrators contributed to both magazines. The leading fantasy magazine in the 1930s was Weird Tales, which focused on shock and horror. Campbell wanted to publish a fantasy magazine with more finesse and humor than Weird Tales, and put his plans into action when Eric Frank Russell sent him the manuscript of his novel Sinister Barrier, about aliens who own the human race. Unknown's first issue appeared in March 1939; in addition to Sinister Barrier, it included H. L. Gold's "Trouble With Water", a humorous fantasy about a New Yorker who meets a water gnome. Gold's story was the first of many in Unknown to combine commonplace reality with the fantastic.

Mens adventure

Men's adventure is a genre of magazine that was published in the United States from the 1940s until the early 1970s. Catering to a male audience, these magazines featured pin-up girls and lurid tales of adventure that typically featured wartime feats of daring, exotic travel or conflict with wild animals. These magazines were also colloquially called "armpit slicks", "men's sweat magazines" or "the sweats", especially by people in the magazine publishing or distribution trades.

Popular Publications was one of the largest publishers of pulp magazines during its existence, at one point publishing 42 different titles per month. Company titles included detective, adventure, romance, and Western fiction. They were also known for the several 'weird menace' titles. They also published several pulp hero or character pulps.

E. Hoffmann Price American writer

Edgar Hoffmann Price was an American writer of popular fiction for the pulp magazine marketplace. He collaborated with H. P. Lovecraft on "Through the Gates of the Silver Key".

<i>Detective Story Magazine</i>

Detective Story Magazine was an American magazine published by Street & Smith from October 15, 1915 to Summer, 1949. It was one of the first pulp magazines devoted to detective fiction and consisted of short stories and serials. While the publication was the publishing house's first detective-fiction pulp magazine in a format resembling a modern paperback, Street & Smith had only recently ceased publication of the dime-novel series Nick Carter Weekly, which concerned the adventures of a young detective.

Weird menace

Weird menace is the name given to a subgenre of horror fiction that was popular in the pulp magazines of the 1930s and early 1940s. The weird menace pulps, also known as shudder pulps, generally featured stories in which the hero was pitted against sadistic villains, with graphic scenes of torture and brutality.

Arthur J. Burks American writer

Arthur J. Burks was an American writer and a Marine colonel.

Wayne Robbins American writer

Windom Wayne Robbins was an American author of horror and weird fiction. His work was primarily published in the Popular Publications catalog of weird menace pulp fiction. His first published short story was Horror's Holiday Special in the July 1939 issue of Dime Mystery Magazine.

Ormond Robbins American writer

Ormond Orlea Robbins was an American author of hardboiled detective fiction and weird fiction. His work was primarily published in the Popular Publications catalog of pulp fiction. The most part of his work for Popular Publications was attributed to his pen names Dane Gregory and, occasionally, Breck Tarrant.

Horwitz Publications is an Australian publisher primarily known for its publication of popular and pulp fiction. Established in 1921 in Sydney, Australia by Israel and Ruth Horwitz, the company was a family-owned and -run business until the early 21st century. The company is most associated with their son Stanley Horwitz, who took over publishing operations in 1956. Stanley was eventually succeeded by his son Peter and daughter Susan, who was the company's director in the years 1987-2016.

<i>The Thrill Book</i> US pulp magazine

The Thrill Book was a U.S. pulp magazine published by Street & Smith in 1919. It was intended to carry "different" stories: this meant stories that were unusual or unclassifiable, which in practice often meant that the stories were fantasy or science fiction. The first eight issues, edited by Harold Hersey, were a mixture of adventure and weird stories. Contributors included Greye La Spina, Charles Fulton Oursler, J. H. Coryell, and Seabury Quinn. Hersey was replaced by Ronald Oliphant with the July 1 issue, probably because Street & Smith were unhappy with his performance.

<i>Strange Stories</i> US pulp fantasy magazine

Strange Stories was a pulp magazine which ran for thirteen issues from 1939 to 1941. It was edited by Mort Weisinger, who was not credited. Contributors included Robert Bloch, Eric Frank Russell, C. L. Moore, August Derleth, and Henry Kuttner. Strange Stories was a competitor to the established leader in weird fiction, Weird Tales. With the launch, also in 1939, of the well-received Unknown, Strange Stories was unable to compete. It ceased publication in 1941 when Weisinger left to edit Superman comic books.

<i>Captain Future</i> (magazine) US pulp science fiction magazine

Captain Future was a science fiction pulp magazine launched in 1940 by Better Publications, and edited initially by Mort Weisinger. It featured the adventures of Captain Future, a super-scientist whose real name was Curt Newton, in every issue. All but two of the novels in the magazine were written by Edmond Hamilton; the other two were by Joseph Samachson. The magazine also published other stories that had nothing to do with the title character, including Fredric Brown's first science fiction sale, "Not Yet the End". Captain Future published unabashed space opera, and was, in the words of science fiction historian Mike Ashley, "perhaps the most juvenile" of the science fiction pulps to appear in the early years of World War II. Wartime paper shortages eventually led to the magazine's cancellation: the last issue was dated Spring 1944.

History of US science fiction and fantasy magazines to 1950 Science-fiction and fantasy magazine history

Science-fiction and fantasy magazines began to be published in the United States in the 1920s. Stories with science-fiction themes had been appearing for decades in pulp magazines such as Argosy, but there were no magazines that specialized in a single genre until 1915, when Street & Smith, one of the major pulp publishers, brought out Detective Story Magazine. The first magazine to focus solely on fantasy and horror was Weird Tales, which was launched in 1923, and established itself as the leading weird fiction magazine over the next two decades; writers such as H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard became regular contributors. In 1926 Weird Tales was joined by Amazing Stories, published by Hugo Gernsback; Amazing printed only science fiction, and no fantasy. Gernsback included a letter column in Amazing Stories, and this led to the creation of organized science-fiction fandom, as fans contacted each other using the addresses published with the letters. Gernsback wanted the fiction he printed to be scientifically accurate, and educational, as well as entertaining, but found it difficult to obtain stories that met his goals; he printed "The Moon Pool" by Abraham Merritt in 1927, despite it being completely unscientific. Gernsback lost control of Amazing Stories in 1929, but quickly started several new magazines. Wonder Stories, one of Gernsback's titles, was edited by David Lasser, who worked to improve the quality of the fiction he received. Another early competitor was Astounding Stories of Super-Science, which appeared in 1930, edited by Harry Bates, but Bates printed only the most basic adventure stories with minimal scientific content, and little of the material from his era is now remembered.

Bruno Fischer was a German-American author of weird and crime fiction.

Rudolph Belarski was an American graphic artist known for his cover art depicting aerial combat for magazines such as Wings, Dare Devil Aces, and War Birds. He also drew science fiction covers for Argosy in the 1930s and covers for mystery and detective novels.

References

  1. 1 2 "A Two-Minute History of the Pulps", in The Adventure House Guide to the Pulps, edited by Doug Ellis, John Locke, and John Gunnison. Silver Spring, MD, Adventure House, 2000. (p. ii–iv).
  2. See Lee Server, Encyclopedia of Pulp Fiction Writers (2002), pg.131.
  3. 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 Brand, Buffalo Bill, Frank Merriwell, Gerald Smith, Richard Duffy, Frederick Faust, dime novel, Horatio Alger, Henry Ralston, Ned Buntline, Ormond Smith, Beadle's, Edward Stratemeyer, detective fiction, Laura Jean Libbey, Astounding Science Fiction, Edith Evans)
  4. Hulse, Ed. (2009) "The Big Four (Plus One)" in The Blood 'n' Thunder Guide to Collecting Pulps. Murania Press, ISBN   0-9795955-0-9 (pp. 19–47).
  5. 1 2 Server, Lee (1993). Danger Is My Business: an illustrated history of the Fabulous Pulp Magazines. San Francisco: Chronicle Books. pp. 62–65. ISBN   978-0-8118-0112-6.
  6. 1 2 Ashley, Michael (2006). The Age of the Storytellers: British Popular Fiction Magazines, 1880–1950. British Library. ISBN   1-58456-170-X
  7. "Orchideengarten, Der". in: M.B. Tymn and Mike Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines. Westport: Greenwood, 1985. pp. 866. ISBN   0-313-21221-X
  8. Ashley , Michael. The history of the science-fiction magazine: the story of the science-fiction magazines from 1950 to 1970, Transformations, Volume 2 (2005), pg. 3 ISBN   978-0-85323-779-2
  9. Haining, Peter (1975). The Fantastic Pulps. Vintage Books, a division of Random House. ISBN   0-394-72109-8.
  10. Hutchison, Don (1995). The Great Pulp Heroes. Mosaic Press. ISBN   0-88962-585-9.
  11. Hulse, Ed (2009). The Blood 'n' Thunder Guide to Collecting Pulps. Muriana Press. pp. 26, 163. ISBN   978-0979595509.
  12. Robinson, Frank M., and Davidson, Lawrence. Pulp Culture – The Art of Fiction Magazines. Collectors Press, 2007. ISBN   1-933112-30-1 (p.42).
  13. The Adventure House Guide to the Pulps, edited by Doug Ellis, John Locke, and John Gunnison. Silver Spring, MD, Adventure House, 2000. (p. xi–xii).
  14. John A. Dinan, Sports in the Pulp Magazines. McFarland, 1998, ISB0786404817 (pp. 130–32).
  15. Bleiler,Richard "Forgotten Giant: Hoffman’s Adventure". Purple Prose Magazine, November 1998, p. 3-12.
  16. Sampson,Robert.(1991) Yesterday's Faces:Dangerous Horizons Popular Press, 1991, (p.87).
  17. Locke, John ed. “Editors You Want to Know: Daisy Bacon” by Joa Humphrey in Pulpwood Days: Editors You Want to Know. Off-Trail, 2007. ISBN   0-9786836-2-5 (p. 77). Daisy Bacon (1899?–1986) was nicknamed "Queen of the Woodpulps".
  18. Schorer, M. Sinclair Lewis: An American Life, pp. 3–22. McGraw-Hill, 1961.
  19. "They Came from the Newsstand: Pulp Magazines from the Browne Library". Browne Popular Culture Library News. Bowling Green State University. 31 May 1994.
  20. Stephensen-Payne, Phil (2018). "Pulp Adventures". Magazine Data File.
  21. "Pulp Fiction". October 14, 1994 via IMDb.
  22. "DC Thomson Shop – Home Page". Dcthomson.co.uk. Retrieved 2010-12-08.
  23. "Magazine Data File".

Sources

Further reading