- Hardcover: 240 pages
- Publisher: A Cappella Books (19 Aug 2002)
- Language English
- ISBN-10: 1556523890
- ISBN-13: 978-1556523892
- Product Dimensions: 29.8 x 23.4 x 2.6 cm
- Amazon Bestsellers Rank: 3,048,042 in Books (See Top 100 in Books)
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First the good stuff: the book offers a large number of well-reproduced covers from a wide variety of pulps. The images are photographs (two are out of focus slightly), and so do not have the problems seen in several similar recent books which had electronically-scanned covers displaying a color palette nothing whatsoever like the actual covers.
Now for the bad part. The text is mainly just a description of particular magazines which happen to be in the author's personal collection. Where the text departs from what is really just a catalog of the collection, to provide background on publishers, specific titles and authors, the material is so riddled with errors as to be of very limited use and reliability. So much of the text is clueless, every reader will have his favorite (and different) gaffe. Mine is the reference (p. 203) to "famous American space artist Chester Bonestall." He's apparently not as famous as I thought!
To summarize the contents: Chapter 1 provides a confused account of the origins and types of pulp magazines. Chapter 2 is devoted to the very-soft-porn pulps usually sold from under the tobacco shop counter. Chapter 3 deals with detective, crime and gangster pulps. Chapter 4 covers the "spicy" pulps and their imitators. Chapter 5 introduces the weird fantasy pulps, of which the best and best known were WEIRD and UNKNOWN. Chapter 6 surveys the "shudder" pulps which featured heavy doses of sadism and torture. Chapter 7 fairly casually dips into the huge sea of science-fiction pulps. Finally, chapter 8 shows us a little bit of the little-known world of British pulps and pulp publishing. (About half the space actually is devoted to paperbacks rather than pulps.) Notable complete omissions from the book are the most popular pulp genre, westerns (perhaps half of all pulp titles at peak), and the justice-figure pulps such as THE SHADOW, DOC SAVAGE and the SPIDER, which are the best remembered pulps today. Also largely ignored are the general fiction titles, such as BLUE BOOK, ARGOSY and ADVENTURE. With such omissions, the present book cannot be considered very valuable even as a pictoral survey of the pulp era.
Buy it for the cover reproductions and you won't be too disappointed. But if you try to read the text, you're in for dismay and frustration.
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