February 24, 2020Updated the. Also added a a YouTube link to, a, a, and a for the 1994 movie promotion.Plus, an artist rendering of, and a cameo appearance in.December 23, 2019Updated the. Added, plus cover scans for, and.October 28, 2019Added,. Plus cover scans of.August 26, 2019Added. An update on the English pub,.

Pulp magazines (often referred to as 'the pulps'), also collectively known as pulp fiction, refers to inexpensive fiction magazines published from 1896 through the 1950s. The typical pulp magazine was seven inches wide by ten inches high, half an inch thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.The name pulp comes from the cheap wood pulp paper on which the magazines were printed. Magazines printed on better paper were called 'glossies' or 'slicks.'

The biggest, the boldest, the most comprehensive collection of Pulp writing ever assembled. Weighing in at over a thousand pages, containing over forty-seven stories and two novels, this book is big baby, bigger and more powerful than a freight train—a bullet couldn’t pass through it. Here are the best stories and every major writer who. That said, pulp crimefighters pretty much all fell into a few well-defined cliches, so broadening the types of heroes to be found might run counter to the game's.

In their first decades, they were most often priced at ten cents per magazine, while competing slicks were 25 cents apiece. Pulps were the successor to the penny dreadfuls, dime novels, and short fiction magazines of the 19th century.

Although many respected writers wrote for pulps, the magazines are best remembered for their lurid and exploitative stories and sensational cover art. Modern superhero comic books are sometimes considered descendants of 'hero pulps'; pulp magazines often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.The first 'pulp' was Frank Munsey's revamped Argosy Magazine of 1896, about 135,000 words (192 pages) per issue on pulp paper with untrimmed edges and no illustrations, not even on the cover. While the steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels, prior to Munsey, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to working-class people. In six years Argosy went from a few thousand copies per month to over half a million.Street & Smith were next on the market.

A dime novel and boys' weekly publisher, they saw Argosy's success, and in 1903 launched The Popular Magazine, billed as the 'biggest magazine in the world' by virtue of being two pages longer than Argosy. Due to differences in page layout, the magazine had substantially less text than Argosy. The Popular Magazine introduced color covers to pulp publishing. 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. 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, each magazine focusing on a genre such as detective stories, romance, etc.At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories described by some pulp historians as 'The Big Four'.

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, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine. Although pulp magazines were primarily a US phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War Two. 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. 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.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.8The 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. 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 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.

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.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 and Short Stories. 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, Earl Mayan, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Rudolph Belarski and Sidney Riesenberg. 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.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. 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), Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories) 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).Description of this collection from Wikipedia.Many issues of this collection come from a variety of anonymous contributors, as well as sites such as. Volume 30 Number 6 Contents The Vampire by Virgil Finlay The Sea-Witch by Nictzin Dyalhis Fane of the Black Pharaoh by Robert Bloch The Black Stone Statue by Mary Elizabeth Counselman The Old House on the Hill by Winona Montgomery Gililand Flames of Vengeance by Seabury Quinn Child of Atlantis by Edmond Hamilton The Voyage of the Neutralia (part 2) by B.

Wallis Uneasy Lie the Drowned by Donald Wandrei The Keen Eyes and Ears of Kara Kedi by Claude Farrere Fragment by Robert E. Howard Polaris.

Topics: pulp, Weird Tales. Volume 32 Number 1 Spawn of Dagon - Henry Kuttner A weird story of Elak of Atlantis, and the worship of the fish-god Fortune's Fools - Seabury Quinn A thrill-tale of the Dark Ages, about wolves that were men, and men that were wolves Dust in the House - David H. Keller A shuddery story about the skeletons that sat across the table from each other The Defense Rests - Julius Long An eery tale of a heartless lawyer, who nevertheless wanted to acquit bis own murderer The Messenger - H. Favorite favorite favorite favorite favorite ( 1 reviews ) Topics: pulp, Weird Tales. Volume 32 Number 2 Contents Old Cornish Litany by Virgil Finlay Frozen Beauty by Seabury Quinn The Diary of Alonzo Typer by William Lumley The Goddess Awakes by Clifford Ball The Strangling Hands by M. Moretti Haunting Columns by Robert E. Howard World's End by Henry Kuttner The Hairy Ones Shall Dance (part 2) by Gans T.

Field From Beyond by H. Lovecraft Ally of Stars by Irene Wilde The Piper of Bhutan by David Bernard The Passing of Van Mitten by Claude Farrere The Ghosts ot. Topics: pulp, Weird Tales.

Volume 28 Number 3 Isle of the Undead - Lloyd Arthur Eshbach An uncanny tale of the fate that befell a yachting party on the awful island of living dead men. The Lost Temples of Xantoos - Howell Calhoun Verse The Opener of the Way - Robert Bloch A tremendous tale of dread doom in a forgotten tomb beneath the desert sands of Egypt Witch-Burning - Mary Elizabeth Counselman Verse The Lost Door - Dorothy Quick An alluring but deadly horror out of past centuries menaced the life of a young American. Volume 31 Number 3 Contents 'Like one, that on a lonesome road' by Virgil Finlay Incesne of Abomination by Seabury Quinn The Poets by Robert E. Howard The Thing on the Floor by Thorp McClusky Dreadful Sleep by Jack Williamson The Shadow on the Screen by Henry Kuttner Beyond the Wall of Sleep by H. Lovecraft The Hairy Ones Shall Dance (end) by Gans T. Field Guarded by Mearle Prout The Teakwood Box by Johns Harrington To Howard Phillips Lovecraft by Francis Flagg The Head in the.

Topics: pulp, Weird Tales. Volume 33 Number 4 Contents The Red God Laughed by Thorp McClusky Trinities by Edgar Daniel Kramer 'Their eyes upturned and begged and burned' by Virgil Finlay Susette by Seabury Quinn Hellsgarde by C. Moore Armies of the Past by Edmond Hamilton The Red Swimmer by Robert Bloch In an Old Street by Vincent Starrett Hydra by Henry Kuttner Fearful Rock (End) by Manly Wade Wellman The High Places by Frances Garfield Mommy by Mary Elizabeth Counselman Will-o'-the-wisp by Charles Sloan. Topics: pulp, Weird Tales. Volume 30 Number 4 Contents Tiger Cat by David H. Keller Pledged to the Dead by Seabury Quinn Which Will Scarcely Be Understood by Robert E. Howard The Shunned House by H.

Lovecraft The Homicidal Diary by Earl Peirce, Jr. The Long Arm by Franz Habl The Lake of Life (part 2) by Edmond Hamilton The Golgotha Dancers by Manly Wade Wellman Here Lies by H. Guernsey The Last of Mrs DeBurgh by H. Silva To a Skull on My Bookshelf by elizabeth Virgins Raplee The Purple Cincture by H. Thompson Rich. Topics: pulp, Weird Tales.

Amazing Stories, volume 21, number 6 (June 1947). Scanned copy of a pulp magazine published by Ziff-Davis Publishing Company and edited by Raymond Palmer. Periodical copyright not renewed. Individual contributions' copyrights not renewed. This magazine and its contents are now in the public domain due to lack of copyright renewal. Featuring: Formula from the Underworld, Zigor Mephisto's Collection of Mentalia, Witch's Daughter, and The Red Legion; all by Richard Sharpe Shaver. Topics: pulp, pulps, pulp magazine, science fiction, amazing stories, shaver mystery.

Amazing Stories, volume 6, number 1 (April 1931). Scanned copy of a pulp magazine published by Radio-Science Publications, Inc. And edited by Thomas O'Conor Sloane, Ph.D. Periodical copyright not renewed. Individual contributions' copyrights not renewed. This magazine and its contents are now in the public domain.

Featuring: Across the Void (Leslie F. Stone; 1/3), Cosmic Power (John C. Dare), The Ambidexter (David H. Keller), The Laughing Death (Stephen G.

Hale), Hidden in Glass (Paul Ernst). Topics: pulp, pulps, pulp magazine, science fiction, amazing stories. This is a compilation of scans (with original illustrations) of all 47 of Manly Wade Wellman's stories (and one poem) from the pulp magazine Weird Tales (from 1927 to 1981). T he stories in the.pdf have been bookmarked for ease of access.

With the touch of your mouse pointer, you can instantly go to any story in the compilation. BACK TO THE BEAST (Weird Tales, November 1927) 2. AT THE BEND OF THE TRAIL (Weird Tales, October 1934) 3. THE HORROR UNDYING (Weird Tales, May 1936) 4.

Topics: Pulps, Pulp Magazines, Weird Tales, Horror, Supernatural, Manly Wade Wellman. A scanned copy of the magazine 'Avon Fantasy Reader' issue 10.

Published by Avon Novels, Inc. Edited by Donald A. Periodical copyright not renewed; contributions' copyrights not renewed. This publication is now in the public domain. Featuring: A Witch Shall Be Born by Robert E.

Howard; Bimini by Bassett Morgan (aka Grace Jones Morgan); The Statement of Randolph Carter by H. Lovecraft; The Mentanicals by Francis Flagg (aka George Weiss); Vengeance in Her Bones. Topics: pulp, pulps, pulp magazine, science fiction, fantasy. 5. Invaders from Outside. shortstory by J. Schlossel 17.

The Electric Chair. shortstory by George Waight 26. As Obligated. shortstory by Armstrong Livingston 35. The Rajah's Gift. shortstory by E.

Hoffmann Price 40. The Fireplace.

shortstory by Henry S. Whitehead 49. White Man's Madness. novelette by Lenore E. Chaney 67.

Red and Black. shortstory by Irvin Mattick 73.

When We Killed Thompson. shortstory by Strickland Gillilan 77. Wings of Power. Topics: Weird Tales, 1925, pulp, pulp magazine. Contents Drift, on the White Crow.

Part I by Jared L. Fuller Honk and Horace. Part IX by Emmet F. Harte Bea Berkeley's Butterfly.

Part V by Holly Edwards How Cooney Made the Border by Edward T. Glynn The Old Man of the Desert by Roy O'Toole The Ugly Circle by George Foxhall The Big, Brown Buckle by Robert Fulkerson Hoffman Just One Life George Van Schaick Down the World's Steepest Grade by Frederick A. Talbot Why There's adn I. By John Walters Queen Mary Rides on a Hand-Car Value of. Topics: pulp, Railroad Man's Magazine. Astounding Science Fiction, Volume 39 Number 5, July of 1947.

Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers. Edited by John W. Campbell, Jr. Featuring essays by John W.

Campbell, Jr. As The Editor, George O. Includes the following works of fiction: With Folded Hands.

(Humanoids Part 1 of 2), novelette by Jack Williamson. The Figure, a shortstory by Edward Grendon. Logic (Tomorrow's Children Part 2 of 2), a. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, jack williamson. Astounding Science Fiction, Volume 39 Number 3, May of 1947. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers.

Edited by John W. Campbell, Jr. Featuring essays by John W.

Campbell, Jr. As The Editor and Willy Ley. Includes the following works of fiction: Fury (Part 1 of 3, Keeps series 2), a serial by Henry Kuttner and C. Moore as by Lawrence O'Donnell. Tiny and the Monster, a novelette by Theodore Sturgeon. Jesting Pilot, shortstory.

Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, lawrence. 292. The Eyrie (Weird Tales, September 1927). The Eyrie.

essay by The Editor 295. The Wolf-Woman. novelette by Bassett Morgan 311.

The Moon Menace. novelette by Edmond Hamilton 331. The Beast of the Yungas. short story by Willis Knapp Jones 337. The Dead Wagon. short story by Greye La Spina 350. The White Lady of the Orphanage.

Jules de Grandin. novelette by Seabury Quinn 365. The Turret Room. short story by August Derleth as by August W. Topics: Weird Tales, 1927, fantasy, sf, fiction, pulp. CONTENTS: Weird Tales v1 #1, March 1923 (25¢, 192pp+, pulp, cover by R.

Epperly) 7 The Dead Man’s Tale Willard E. Hawkins ss 19 Ooze Anthony M. Rud nv 32 The Thing Of A Thousand Shapes Part 1 of 2 Otis Adelbert Kline nv 41 The Mystery Of Black Jean Julian Kilman ss 47 The Grave Orville R. Emerson ss 53 Hark!

Joel Townsley Rogers ss 59 The Ghost Guard Bryan Irvine ss 65 The Ghoul And The Corpse G. Favorite favorite favorite favorite favorite ( 2 reviews ) Topics: Pulp, Pulp Magazine, Weird Tales, Horror, Supernatural, Science Fiction, Otis Adelbert Kline, Joel. Astounding Science Fiction, Volume 41 Number 1, September of 1948. Published by Street & Smith Publications, Inc., New York, NY.

Cover art by Chesley Bonestell. Edited by John W. Campbell, Jr.

Featuring essays by John W. Campbell, Jr.

As The Editor, Robert S. Richardson and Milton A. Rothman in a book review for THE SCIENCE AND ENGINEERING OF NUCLEAR POWER edited by Clark Goodman. Includes the following works of fiction: The Catspaw, a novella by George O.

Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, george o smith. Astounding Science Fiction, Volume 42 Number 6, February of 1949. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers. Edited by John W. Campbell, Jr.

Featuring essays by John W. Campbell, Jr. As The Editor and John R. Jerome Stanton and P. Schuyler Miller book reviews on THE KEY TO THE GREAT GATE by Hinko Gottlieb and BEYOND THIS HORIZON by Robert A Heinlein. Includes the following works of fiction: Seetee.

Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, jack williamson. Astounding Science Fiction, Volume 45 Number 1, March of 1950. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers. Edited by John W. Campbell, Jr.

Featuring essays by John W. Campbell, Jr. As The Editor and Willy Ley. Includes the following works of fiction: New Foundations, a Children of the Atom novelette by Wilmar H. Regulations Provide, a shortstory by Raymond F. The Mercenaries, a novelette by H. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, dianetics.

148. The Eyrie (Weird Tales, September 1931). The Eyrie. essay by The Editor 148. Letter (Weird Tales, September 1931). essay by J.

Vernon Shea as by J. Vernon Shea, Jr. 150.

The Footfalls Within. Solomon Kane. short story by Robert E. Howard 160. The Golden Elixir.

short story by Paul Ernst 170. The Message. short story by Clinton Dangerfield 176. Satan's Stepson. Jules de Grandin. (1931).

novella by Seabury Quinn 217. Deadlock.

Favorite favorite favorite favorite favorite ( 1 reviews ) Topics: Weird Tales, pulp, fiction, fantasy, horro. Astounding Science Fiction, Volume 39 Number 4, June of 1947.

Published by Street & Smith Publications, Inc., New York, NY. Cover art by Charles Schneeman. Edited by John W. Campbell, Jr. Featuring essays by John W.

Campbell, Jr. As The Editor and John R.

Includes the following works of fiction: Centaurus II, a Centaurus novelette by A. Letter to Ellen, a shortstory by Chan Davis. The Model Shop, a novelette by Raymond F. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, ae van vogt. Astounding Science Fiction, Volume 40 Number 5, January of 1948.

Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers. Edited by John W.

Campbell, Jr. Featuring essays by John W. Campbell, Jr. As The Editor and Lorne MacLaughlan with a report from The Analytical Lab column declaring L. Ron Hubbard's Ole Doc Methuselah as the top rated story in October 1947 issue. Includes the following works of fiction: Now You See It. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, isaac asimov.

Astounding Science Fiction, Volume 39 Number 6, August of 1947. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Hubert Rogers. Edited by John W. Campbell, Jr.

Featuring essays by John W. Campbell, Jr. As The Editor, John R. Pierce as by J. Coupling and R. Includes the following works of fiction: The End Is Not Yet (Part 1 of 3), a serial novel by L. Rat Race, a shortstory by George O.

Insomnia, Inc., a novelette. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, l ron hubbard. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. Astounding Science Fiction, Volume 44 Number 3, November of 1949. Published by Street & Smith Publications, Inc., New York, NY.

Cover art by Hubert Rogers. Edited by John W. Campbell, Jr. Featuring essays by John W. Campbell, Jr. As The Editor and R. Includes the following works of fiction.And Now You Don't (Part 1 of 3), Foundation Original Series part 8.

Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, isaac asimov. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press.

Astounding Science Fiction, Volume 43 Number 4, June of 1949. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Chesley Bonestell. Edited by John W.

Campbell, Jr. Featuring essays by John W. Campbell, Jr. As The Editor, R. Richardson as Philip Latham, Viktor Bolkhovitinov and Vassilij Zakhartchenko, with L. Sprague de Camp providing a book.

Favorite ( 1 reviews ) Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, ae van vogt. Astounding Science Fiction, Volume 41 Number 5, July of 1948. Published by Street & Smith Publications, Inc., New York, NY. Cover art by Chesley Bonestell.

Edited by John W. Campbell, Jr. Featuring essays by John W. Campbell, Jr.

As The Editor, Willy Ley and a book review by P. Schuyler Miller of THE FORBIDDEN GARDEN by Eric Temple Bell as John Taine. Includes the following works of fiction: Police Operation, a Paratime Police novelette by H.

Decision Illogical. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, h beam piper. 148. The Eyrie ( Weird Tales, February-March 1931 ).

The Eyrie. essay by The Editor 148. Letter ( Weird Tales, February-March 1931 ). essay by Frank Belknap Long as by Frank Belknap Long, Jr. 148.

Letter ( Weird Tales, February-March 1931 ). essay by N. O'Neail 148. Letter ( Weird Tales, February-March 1931 ). essay by J. Vernon Shea as by J.

Vernon Shea, Jr. 152. Letter ( Weird Tales, February-March 1931 ). essay by E. Hoffmann Price. Topics: weird tales, pulp, fiction, 1931.

292. The Eyrie ( Weird Tales, March 1932 ).

The Eyrie. essay by The Editor 294. Letter ( Weird Tales, March 1932 ). Lego worlds cheat codes. essay by E. Irvine Haines 296. The Vengeance of Ixmal. novelette by W.

Mashburn, Jr. as by Kirk Mashburn 310. The House of the Living Dead. novelette by Harold Ward 330. The Man Who Played With Time. novelette by Arthur William Bernal as by A. Bernal 345.

The Last Day. poem by Robert E. Howard 346. The Answer of the Dead. Topics: weird tales, pulp, fiction.

An Index On The Weird & Fantastica In Magazines by Bradford M. Day (1916-2004) is an index of weird and fantastic stories found in pulp magazines and general fiction magazines published in the late 19th and early to mid-20th centuries such as Weird Tales, Strange Tales, Strange Stories, Oriental Stories, Magic Carpet, Golden Fleece, Adventure, Argosy, All-Story, The Scrap Book, The Idler, Cosmopolitan, Everybody's Magazine, etc. The core of the index is three chronological checklists: The. Topics: Pulps, Pulp Magazines, Science Fiction, Fantasy, Horror, Supernatural, Reference Books, Weird. Astounding Science Fiction, Volume 41 Number 2, April of 1948.

Published by Street & Smith Publications, Inc., New York, NY. Cover art by Chesley Bonestell.

Edited by John W. Campbell, Jr. Featuring essays by John W.

Campbell, Jr. As The Editor and R. With the Brass Tacks column featuring one brazen reader stating that the golden age of ASF with never come as long as poorly constructed stories like L. Ron Hubbard's The End Is Not Yet is printed under. Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, lewis padgett. Astounding Science Fiction, Volume 43 Number 3, May of 1949.

Published by Street & Smith Publications, Inc., New York, NY. Cover art by Paul Orban.

Edited by John W. Campbell, Jr. Featuring essays by John W. Campbell, Jr. As The Editor and Lorne MacLaughlan. Schuyler Miller and L. Sprague de Camp book reviews on SPACE CADET by Robert A.

Heinlen and THE LUNGFISH, THE DODO, AND THE UNICORN (AN EXCURSION INTO ROMANTIC ZOOLOGY) by Willy Ley. Includes the following works of.

Topics: Astounding, pulp novel, pulp, pulps, science fiction, sci fi, novellla, novelette, hal clement. DESCRIPTIONPulp magazines (often referred to as 'the pulps'), also collectively known as pulp fiction, refers to inexpensive fiction magazines published from 1896 through the 1950s.

The typical pulp magazine was seven inches wide by ten inches high, half an inch thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.The name pulp comes from the cheap wood pulp paper on which the magazines were printed. Magazines printed on better paper were called 'glossies' or 'slicks.' In their first decades, they were most often priced at ten cents per magazine, while competing slicks were 25 cents apiece. Pulps were the successor to the penny dreadfuls, dime novels, and short fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines are best remembered for their lurid and exploitative stories and sensational cover art. Modern superhero comic books are sometimes considered descendants of 'hero pulps'; pulp magazines often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.The first 'pulp' was Frank Munsey's revamped Argosy Magazine of 1896, about 135,000 words (192 pages) per issue on pulp paper with untrimmed edges and no illustrations, not even on the cover.

While the steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels, prior to Munsey, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to working-class people. In six years Argosy went from a few thousand copies per month to over half a million.Street & Smith were next on the market. A dime novel and boys' weekly publisher, they saw Argosy's success, and in 1903 launched The Popular Magazine, billed as the 'biggest magazine in the world' by virtue of being two pages longer than Argosy.

Due to differences in page layout, the magazine had substantially less text than Argosy. The Popular Magazine introduced color covers to pulp publishing. 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. 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, each magazine focusing on a genre such as detective stories, romance, etc.At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories described by some pulp historians as 'The Big Four'. 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, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine. Although pulp magazines were primarily a US phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War Two. 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.

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.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.8The 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.

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 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. 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.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 and Short Stories. 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, Earl Mayan, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Rudolph Belarski and Sidney Riesenberg. 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.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. 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), Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories) 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).Description of this collection from Wikipedia.Many issues of this collection come from a variety of anonymous contributors, as well as sites such as.