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Bold Venture Press: The Unsung Hero of Pulp Publishing

Bold Venture Press: The Unsung Hero of Pulp Publishing

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51WvS1lFaXL._SX331_BO1,204,203,200_PulpNoir_1280__06197.1518283264Black Gate: Bold Venture Press is, in many ways, the unsung hero of the pulp world of the 21st Century. You’ve an impressive catalog of new titles and classic reprints, but let’s start at the beginning and tell readers about Bold Venture Press’ history and accomplishments.

Bold Venture Press: Rich Harvey was working in the newspaper field, and founded Pulp Adventures Press in 1992, which eventually became Bold Venture Press. The Bold Venture imprint published The Spider and Pulp Adventures magazine, went on hiatus for a few years, then returned in 2014, reviving Pulp Adventures.

Audrey Parente was an investigative reporter and pulp historian who put her pulp connections on hiatus as her reporting career went into high gear. She rejoined the pulp fold after taking early retirement by attending Rich’s Pulp AdventureCon in New Jersey in 2012. Meeting at other pulp conventions, Rich and Audrey became reacquainted.

A fictionalized version of their romance, Pulp Noir was published by Bold Venture Press. They joined forces in Florida in 2014. Bold Venture has been cranking out several books every month, first focusing on pulp reprints and then adding new pulp and mainstream authors. Rich’s connections with Zorro Productions has led to the biggest and most exciting projects they have tackled.

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Weird Tales Deep Read: November 1934

Weird Tales Deep Read: November 1934

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Weird Tales November 1934-small Weird Tales November 1934-back-small

Weird Tales, November 1934. Cover by Margaret Brundage (for “Queen of the Lillin”)

We’re back on more familiar ground with this issue of Weird Tales from its classic period. More familiar authors are represented, and although not every story is a classic the editors at least avoided any real stumbles this. The issue grades out to a 2.1, which all in all is pretty decent.

Both Howard and Lovecraft appear, although the Lovecraft tale is a reprint and the Howard is the last installment of a serial. E. Hoffman Price, Paul Ernst, and August Derleth, seasoned pulp veterans all, also contributed stories. Price tale’s is part of his Pierre d’Atois stories; , d’Atois, like another Frenchman who appears in a series of WT stories, is an occult detective. The Ernst is one of his slighter efforts. The Derleth is somewhat more unusual, although, as is common, also rather slight. We have to cover already trodden ground with two serials this time around. I’ve included the information on those stories for those who haven’t read all the posts in this series.

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Are Some “Classics” Best Neglected?: Eric Frank Russell’s Sinister Barrier

Are Some “Classics” Best Neglected?: Eric Frank Russell’s Sinister Barrier

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SBarrierUnknown

Sinister Barrier by Eric Frank Russell; Magazine version: Unknown, March 1939.
Cover art H. W. Scott. (Click to enlarge)

Sinister Barrier
by Eric Frank Russell
UK: World’s Work (135 pages, 5/-, hardcover, 1943)
US: Fantasy Press (253, $3.00, hardcover, 1948)

Here’s an early “classic” of science fiction that I came across in a used bookstore in Oakland early last year. I say “classic” with quotes because I had heard of the title for years, but hadn’t recalled ever seeing a copy. Indeed, the invaluable isfdb.com indicates that while it was included in an omnibus from NESFA Press in 2001, there hasn’t been a separate English language edition of the book since Ballantine Del Rey issued it in 1986, nearly 35 years ago. Hmm, why would this be?

Well, because it’s a terribly written book, dated both in language and in plotting and in its sexual and racial attitudes, exhibiting all the worst features of pulp writing, and far worse than the works of, say, Asimov and Heinlein that have survived from that era. That would be the reason modern publishers haven’t kept it in print. If it’s a classic in any way, it’s for its striking conceptual premise, and then only in its historical context. More on that in a bit.

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A (Black) Gat in the Hand: Norbert Davis’ ‘Have One on the House’

A (Black) Gat in the Hand: Norbert Davis’ ‘Have One on the House’

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DimeDetective_March1942EDITED“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era termsp for a gun. Shortened version of Gatling Gun)

I’ve said many times that Norbert Davis is on my Hardboiled Mt. Rushmore. He’s not the first face carved in hardboiled stone, but he’s one of only four that are. Max Latin is my favorite Davis character, and he appeared in five issues of Dime Detective. There were five Benjamin Martin stories – all in Detective Tales. It was William (Bail Bond) Dodd that was Davis’ frequently recurring character. There were eight stories in Dime Detective between February, 1940 through December, 1943.

Dodd is a physically unprepossessing bail bondsman. He doesn’t actively seek out trouble. You can’t even call his adventures cases. “Have one on the House” was in the March, 1942 issue of Dime Detective. That issue also included a Steve Midnight story from John K. Butler. Midnight was a broke former playboy who found adventures as a night shift cabbie. There was also a Bookie Barnes story from Robert Reeves. Reeves broke into Black Mask in 1940 at the age of 28. He was serving with a bomber unit in the Philippines when he died in 1945, only one month before the war ended. He had continued to write while in the service. His budding career was cut tragically short.

Back to Dodd! Norbert Davis is remembered as perhaps the best at screwball hardboiled. However, then and now, that carries a stigma and he is generally dismissed because of it. And it’s both inaccurate and unfair. He could write straight hardboiled, like “The Red Goose,” which Raymond Chandler praised as influencing him when he decided to become a writer. But what Davis did so well was inject humor into his hardboiled stories, without overwhelming them with it. That’s the case with the Bail-Bond Dodd stories. It’s not that the characters are funny – it’s the situations that Dodd (and his assistant, Meekins) find themselves in.

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A (Black) Gat in the Hand: C.M. Kornbluth’s Pulp

A (Black) Gat in the Hand: C.M. Kornbluth’s Pulp

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Kornbluth_PolkaEDITEDSteven H Silver and I shared office space in the dungeon…cellar…basement….journalist’s suite (yeah, that’s it) at the Black Gate World Headquarters. Then, Steven published his cool new novel, After Hastings, and got moved above ground level. He tapped out a message to me on the pipes and said that it has taken a while for his eyes to get used to all that natural light. But before he moved on up, we worked on the joint post you are now reading. I look at a hardboiled PI story by C. M. Kornbluth. Then Steven follows with one of the author’s science fiction stories. Kornbluth wrote a lot more of the latter, than the former. So, read on from the pride of the BG World Headquarters underground offices!

C.M. Kornbluth started to emerge as a science fiction star, then went off and earned a Bronze Star for service in The Battle of the Bulge. He resumed his writing career and died at the young age of thirty-four. Primarily in the late forties, he wrote sixteen mystery stories for the pulps. Two of those appeared in Black Mask in 1946. “Beer-Bottle Polka” introduced tough PI Tim Skeat in the September issue, and he made a return appearance in November with “The Brooklyn Eye.” All of his other mystery stories were one-offs, without a recurring character.

Skeat gets a phone call from Detective Lieutenant Angonides, telling him to come to the crime scene, where a dead body has been found. The stiff had been tied to a bed and seriously tortured with a broken beer bottle. It ain’t pretty. One of Skeats’ business cards had been found in the deceased’s hat band, prompting the call. Skeat tells him the man was a nut who visited his office, tried to sell him a secret, and was sent packing.

Angonides doesn’t like that answer. He has Skeat taken down to the station. And when he still doesn’t like that answer, down into the basement. First he sweats Skeat with a hot spotlight. And when that doesn’t work, he punches him over and over, right below a rib. Then moves about six inches to the side and repeats the process. Skeat isn’t a suspect in the killing. Angonides is just convinced he knows more than he’s telling. So he works him over. Skeat doesn’t change his story and is beaten into unconsciousness. And told not to bother filing a complaint. He takes his undeserved beating and heads to a Turkish bath for treatment, and falls asleep there.

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Weird Tales Deep Read: June, 1923

Weird Tales Deep Read: June, 1923

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Weird Tales June 1923

Cover by Heitman for “Murders in the Rue Morgue”

June 1923 was the magazine’s fourth issue, and it was still clearly a magazine in search of itself.

There are very few authors who had a major impact on the magazine appeared in this issue. The most notable name, of course, is Edgar Allen Poe with a reprint of one of his most famous tales (“The Murders in the Rue Morgue”) and, secondarily, Otis Adelbert Kline, with a story largely forgotten today, but which I found to be a cut above many of his others, though ultimately somewhat slight. That’s about it. Two of the best stories were by authors totally forgotten today, Paul Ellsworth Triem and Loual B. Sugarman, with only the later tale having fantastic elements. In fact, only seven of the 18 stories in this issue had fantastic elements (39%), all were set in contemporaneous times (of course, the Poe story was written in the 1840s), and most (13 or 72%) were set in the United States.

On the whole, many of the stories were no better than mediocre, but really poor efforts were largely avoided (four 4’s and one 5). Also largely avoided were the overtly racist tropes too readily present in many early WT’s, with the Birch effort going all in on the Yellow Peril theme.  Overall, this issue rated out to 3.00, which notably lags behind the classic early 1930s issues previously covered.

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A (Black) Gat in the Hand: Norbert Davis’ Don’t You Cry for Me’

A (Black) Gat in the Hand: Norbert Davis’ Don’t You Cry for Me’

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Davis_Don'tCry“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

On my Hardboiled Mount Rushmore, it’s Dashiell Hammett, Frederick Nebel, and then Norbert Davis. The fourth spot is a bit fluid, though the Jo Gar series often has Raoul Whitfield in that fourth spot. But today, we’re going to look at a Davis short story.

Davis was in law school at Stanford when he wrote his first story and sent it to Joe ‘Cap’ Shaw, the legendary editor of Black Mask. It was accepted, and by the time he graduated law school, he was successfully writing for the pulps. In fact, he was doing so well, he never sat for the bar, and spent the rest of his life as a writer, moving from the pulps to the higher-paying slicks. Sadly, took his own life at only the age of 40.

I’ve already written an essay on his Ben Shaley stories, which constituted two of the five Davis tales Shaw printed in Black Mask under his watch. After Shaw left, Davis appeared in Black Mask eight more times. I’m working on what I hope will be THE definitive essay on his Max Latin stories. I absolutely love that five-story series. They’re fantastic.

Between May 1942 and May 1943, Black Mask ran three stories featuring John Collins. Collins was a piano player who had done some investigation work on the side in Europe before World War II. “Don’t You Cry for Me” was the first of the three stories.
Picking Iron (trivia) – In May, 1942, Give the Devil His Due” ran in Dime Detective.

Of course, America was drawn into World War II on December 7, 1941.The story blurb for this one reads, “The brawny piano-player had had his run-ins with the ghoulish Gestapo in the beer halls of Europe, but when he promised Myra Martin’s mother to find the girl in the Mecca of the movie-struck, he ran foul of a plot as fantastic as any Hitler pipe-dream.” Pulp magazines used bombast long before Donald Trump did.

“John Collins was playing the Beale Street Blues and playing it soft and sad because that was the way he felt. The notes dripped through the dimness of the room like molasses and provided an appropriate accompaniment to his thoughts. He had a hangover.”

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Between the Years When the Oceans Drank (Henry Kuttner’s) Atlantis, and the Rise of COVID-19 — Elak Lives Again!

Between the Years When the Oceans Drank (Henry Kuttner’s) Atlantis, and the Rise of COVID-19 — Elak Lives Again!

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Elak lives again! Just released by Pulp Hero Press, Adrian Cole continues a saga Kuttner abandoned 80 years ago.
Elak lives again! Just released by Pulp Hero Press, Adrian Cole continues a saga Kuttner abandoned 80 years ago.

Adrian Cole is hardly a stranger to fantasy fiction.

Born in Plymouth, Devonshire in 1949, Adrian first read The Lord of the Rings in the late 1960s while working in a public library in Birmingham, and was inspired by the book to write an epic entitled “The Barbarians,” which was eventually revised into The Dream Lords trilogy, published by Zebra Books in the early 1970s. He has been writing various ghost, horror, and fantasy tales, in both short-story and novel-length, ever since. His career is well-established and diverse, from psychological, alien-horror, to superheroes, fantasy trilogies to young-adult novels.

So it is particularly interesting that Adrian’s newest work is an anthology of stories about the adventurer Elak of Atlantis: Elak, King of Atlantis, which was just released earlier this month by Pulp Hero Press.

Atlantis? A vogue setting in early to mid-20th century fantasy fiction, we don’t really see novels or short stories in Atlantis anymore. Ah, but you see, Elak is himself a piece of history…

After Robert E. Howard’s unfortunate suicide in 1936, a number of authors stepped up to fill the void. Most wrote reasonable, working tales, that were largely forgettable, and they themselves were forgotten. One, however, was the masterful Henry Kuttner, who danced easily between fantasy, horror and science fiction, and had a stellar career, made the more so by his collaborations with his wife, C. L. Moore. Kuttner wrote four Elak of Atlantis stories, which appeared in Weird Tales between 1938 and 1940.  They are an abridged version of REH’s Conan stories, and follow the exploits of Elak as he passes from sword-for-hire to king. But Elak is not a “Clonan”: he’s a civilized man, a noble cast-off, who wields a rapier. Whereas Conan is destined to seize a crown, Elak is trying to avoid his destiny.  Unlike Conan, he is not a loner with “guest star” companions, and is accompanied by the perpetually drunk thief Lycon, and the druid Dalan, who is trying to get Elak to accept his destiny to rule the kingdom of Cyrena.

We first meet Elak returning from an encounter with the wife of Atlantean nobility and that strikes a note in the tales: there is a light-heartedness to them, although the world is a dark one.  If you can imagine an Errol Flynn swashbuckler with wizards and Deep Ones, you have the vibe.

Of course, that doesn’t tell us why, 80 years after Kuttner abandoned the doomed island, Cole is bringing it back up from its watery depths.

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The Ordinary is Ephemeral: Robert E. Howard, Clark Ashton Smith, H.P. Lovecraft, and the Battle Against Modernism

The Ordinary is Ephemeral: Robert E. Howard, Clark Ashton Smith, H.P. Lovecraft, and the Battle Against Modernism

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Weird Tales of Modernity-smallWeird Tales of Modernity: The Ephemerality of the Ordinary in the Stories of Robert E. Howard, Clark Ashton Smith, and H.P. Lovecraft
Jason Ray Carney
McFarland & Company (205 pages, $39.95 in paperback/$23.99 digital, July 26, 2019)

Jason Carney’s thesis in Weird Tales of Modernity is that, in their reaction to modernism, the artistic and literary movement that upended culture as it had been accepted in the Victorian and Edwardian eras, the Weird Tales Three — Howard, Smith, and Lovecraft — turned modernism on its head with innovations they introduced in their fiction. Make no mistake: the word thesis here is apt. Weird Tales of Modernity is a formal dissertation. Making use as it does of academic jargon, the book will not be for every reader.

Straightaway, for example, Carney introduces us to the term ekphrastic to make clear what the Weird Tales Three were expressing. Ekphrasis is the representation in language of a work of art. Any of us can do this; go ahead and write your own personal, detailed description of Cthulhu or explore how you react to Frank Frazetta’s artwork. Ekphrasis “acts as an organizing principle in poetry and fiction, making explicit the connection between art, storytelling, and life.” This definition is from Patrick Smith’s guest blog on the website Interesting Literature. Smith quotes Michael Trussler in defining ekphrasis as “a kind of ontological mixture that signals a world beyond the confines of the text.”

There we have it: ekphrasis “signals a world beyond the confines of the text.” We are now in Lovecraft’s frightening, paranoid, awakened world of the Cthulhu mythology — alive beyond the confines of the text — and Clark Ashton Smith’s Averoigne and Poseidonis, and Robert E. Howard’s brutal Valusia and Hyborian Age. As Carney says early in Weird Tales of Modernity, “When a literary artist, like [Clark Ashton] Smith, artistically describes or fictionalizes a work of art by transforming it into an unreal echo or shadow of the actual, that is ekphrasis.”

Carney devotes an early chapter to the history of Weird Tales and then two chapters each to the three authors of his study, introducing them and then exploring their artistic innovations. He begins his study with an examination of what he terms pulp ekphrasis. “In several of their enduring works,” he says,

Lovecraft, Howard, and Smith engage in a form of artistically inflected criticism termed ekphrasis. They do so by fictionalizing modernism, transforming the real artistic movement into an unreal shadow modernism, a strategic distortion of actual modernism. After many creative iterations honed over several stories — e.g., Pickman’s demented art, Malygris’s sorcery, the fell mirrors of Tuzun Thune — this shadow modernism becomes an inhuman technology that, functioning like a cognitive prosthesis in the virtual world of fiction, thereby reveals the secret truth of history: history is a cruelly accelerating process of deformation. The ordinary is ephemeral. History is an interplay of form and formlessness with formlessness terminally ascendant.

The ordinary is ephemeral. Lovecraft, Smith, and Howard were keenly aware of this truth and reacted to it in their fiction while other Weird Tales writers were moving right along in the modern world, writing their stories of scientifiction, offering narratives of ominous cults and mad scientists (with at least one nude woman per story),  or revisiting the tropes of Victorian horrors.

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Weird Tales Deep Read: October 1934

Weird Tales Deep Read: October 1934

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Weird Tales October 1934-small

Cover by Margaret Brundage

This third installment of the Weird Tales deep read covers the eleven stories in the October 1934 issue, including the first Jirel of Joiry story by C. L. Moore. Her flame didn’t burn as long in the Unique Magazine as the Lovecraft-Howard-Smith trinity’s did, but it did burn as brightly. Moore had sixteen stories in Weird Tales between 1933-1939, twelve in an incredible burst of creativity in the years 1934-1936.

This issue had three stories set in the U.S. (27%) and one each in France, Hyperborea, the U. K., Hyboria, Africa, Serbia, Italy, and an unknown locale (9%). Six had a contemporary setting (55%) and five were set in the past (45%). All in all a decent issue, with the stories averaging 2.27, the score being dragged down by some of the shorter pieces, which were largely undistinguished.

Notable authors include Clark Ashton Smith, Robert E. Howard, with one of his longest and most ambitious stories, the aforementioned C. L. Moore, and fairly reliable veterans Paul Ernst and H. Bedford-Jones, and Manly Wade Wellman. The Ernst and Eadie offerings could be considered science fiction, the rest fantasy.

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