Pulp fiction' s lurid adventures were vividly reflected on the magazines' eye-catching covers. Hard-boiled dames, bizarre monsters, dicks and ' tecs, sinister villains, and muscled warriors all appeared each month to tempt readers out of their hard-earned dimes. This gorgeous full-color compilation features hundreds of the genre' s most thrilling covers and includes an index. Taken collectively, they provide a dazzling panorama of some 60 years of illustration and social commentary.

The best pages from the sensational photo magazine published in France in the 1920s and 1930s.

Hemingway as viewed through the lens of men's pulp magazines During the 1950s, Hemingway was in two plane crashes, won a Nobel Prize, published a best-selling novel, and had five movies released based on his work. He had always been a public figure, but during these years his fame rose to that of celebrity. Splashed on the pages of men's magazines were articles titled "Hemingway, Rogue Male," "Hemingway: America's No 1 He-Man," "Hemingway: War, Women, Wine, and Words," and "Hemingway: King of the Vulgar Words and Seduction." These articles appeared not in the mainstream men's magazines like Esquire, Field & Stream, and Playboy, but in the pulp men's adventure magazines of Vagabond, Rogue, Modern Man, Male, Bachelor, Sir Knight!, and Gent. Kitschy, extreme, and often misogynistic, these magazines capture the hyper-masculinity of the postwar decade. And Hemingway was portrayed as a role model in all of them. Using these overlooked and sensational magazines, David M. Earle explores the popular image of Ernest Hemingway in order to consider the dynamics of both literary celebrity and midcentury masculinity. Profusely illustrated with magazine covers, article blurbs, and advertisements in full color, All Man! considers the role that visuality played in the construction of Hemingway's reputation, as well as conveys a lurid and largely overlooked genre of popular publishing. More than just a contribution to Hemingway studies, All Man! is an important addition to scholarship in the modernist era in American literature, gender studies, popular culture, and the history of publishing.

This weekly magazine was one of the premier venues for short fiction during the early 20th century. Featuring works from some of the era's most celebrated authors, including Edgar Rice Burroughs, H.G. Wells, and Zane Grey, it was a must-read for anyone with an interest in popular fiction. This book collects some of the magazine's best stories, making it a valuable addition to any library of early 20th century literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The working cowboy would never be found in great abundance in the pulp magazines, or in the dime novels, in hard- or soft-cover books, or something else. A man for all seasons, the cowboy of fiction survives because of the genius of first-rate authors like James Fenimore Cooper and such modern masters of the art as Fred Glidden (Luke Short) and Ernest Haycox, and in spite of the works of hacks like Edward Judson (Ned Buntline). This book covers a generation, the pulp era of the 1920s, 30s, and 40s of pulp fictioneers who cranked out millions, perhaps even hundreds of millions, or words for the several hundred western pulp magazines then active. It also provides a short history of the origins of Western American fiction, plus a brief commentary on the genres evolution into the paperback era.