These Curious Pleasures Part 15

I thought those things but the only thing I said was, "Call the airline. See if you can get a reservation for me on the flight you're taking."

Allison nodded wordlessly and went to the telephone. While she was dialing the number I sat down on the couch and lit a cigarette. If she could get a reservation for me, I'd have to leave in a few minutes and go home to pack. That cigarette would be the last one I'd ever have in that apartment.

I listened while Allison talked to the airline ticket agent. She didn't make a reservation for me. She confirmed the one she had made the day before for both of us.

AFTERWORD.

A new revolution was underway at the start of the 1940s in Americaa"a paperback revolution that would change the way publishers would produce and distribute books and how people would purchase and read them.

In 1939 a new publis.h.i.+ng companya"Pocket Booksa"stormed onto the scene with the publication of its first paperbound book. These books were cheaply produced and, with a price of twenty-five cents on their light cardboard covers, affordable for the average American.

Prior to the introduction of the ma.s.s-market paperback, as it would come to be known, the literary landscape in America was quite different than what it is today. Reading was primarily a leisure-time pursuit of the wealthy and educated. Hardcover books were expensive and hard to find, so purchasing books was a luxury only the rich living in major metropolitan areas could afford. There simply werenat many bookstores across the country, and only gift shops and stationary stores carried a few popular novels at a time.

The Pocket Books were priced to sell, however, and sell is what they dida in numbers never before seen. Availability also had a great effect on sales, in large part due to a bold and innovative distribution model that made Pocket Books available in drugstores, newsstands, bus and train stations, and cigar shops. The American public could not get enough of them, and before long the publis.h.i.+ng industry began to take notice of Pocket Bookas astonis.h.i.+ng success.

Traditional publishers, salivating at the opportunity to cash in on the phenomenal success of the new paperback revolution, soon launched their own paperback ventures. Pocket Books was joined by Avon in 1941, Popular Library in 1942, and Dell in 1943. The popular genres reflected the tastes of Americans during World War IIa"mysteries, thrillers, and ahardboiled detectivea stories were all the rage.

Like many of the early paperback publishers, Dell relied on previously published material for its early books, releasing acomplete and unabridgeda reprints under different t.i.tles by established authors. Within a couple of years it was focused exclusively on mysteries, identifiable by the Dell logo on the covera"a small keyhole with an eye looking through it. Many of the Dell mysteries also featured a colored map on the back cover representing the various locations pertaining to the storyas crime. These amapbacka editions became extremely popular and by 1945, Dell was publis.h.i.+ng four new books a month.

The new paperback industry was faced with some difficult challenges during World War II. In particular, the War Boardas Paper Limitation order placed serious restrictions and rations on the use of paper. Publishers began to worry whether they would have enough paper to satisfy both the civilian and military appet.i.te for paperbacks. Manpower shortages and transportation difficulties were also proving to be difficult challenges. In response, some publishersa"Pocket Books, for instancea"reduced their publication schedules and reset their books in smaller type thereby reducing the number of pages per book. Others simply rejected longer books in favor of shorter ones.

In the end, World War II proved to be a boon to the emerging paperback industry. During the war, a landmark agreement was reached with the government in which paperbound books would be produced at a very low price for distribution to service men and women overseas. These booksa"Armed Services Editions, as they were calleda"were often pa.s.sed from one soldier or sailor to another, being read and re-read over and over again until they literally fell apart. Their stories of home helped ease the soldieras loneliness and homesickness, and they could be easily carried in uniform pockets and read anywherea"in fox holes, barracks, transport planes, etc. Of course, once the war was over millions of veterans returned home with an insatiable appet.i.te for reading. They were hooked, and their pa.s.sion for reading these books helped launch a period of unprecedented growth in the paperback industry.

The reading tastes of these veterans were directly reflected in the popularity of certain genres at the turn of the decade. In the mid- to late 1940s, mysteries, romance, thrillers, and hardboiled detective stories seemed to sell better. In the early 1950s new genresa"science fiction, westerns, gay and lesbian, juvenile delinquent and asleazea, for instancea"gained in popularity as readers were presented with stories never before seen in print. Publishers also came to realize that s.e.x would sell booksa lots of books. In a compet.i.tive frenzy for readers, they ditched their conservative and straightforward cover images for alluring covers that frequently featured a s.e.xy woman in some form of undress, along with a suggestive tag line that promised stories of s.e.x and violence within the covers. Before long, books with sensational covers had completely taken over the paperback racks and cash registers. To this day, the cover art of these vintage paperback books are just as sought after as the books themselves were sixty years ago.

Science fiction t.i.tles reflected the uncertain times during which they were written. The Cold War was just beginning, the threat of nuclear annihilation was on everyoneas mind, governments in Eastern Europe were falling to Communists, and Senator Joseph McCarthy was looking for aun-American activitiesa everywhere in the United States. Many science fiction stories in the early days of the paperback revolution were little more than soap operas or westerns set in s.p.a.cea"good guys taking on bad guys while rescuing damsels in distressa"that were short stories taken from the pulp magazines. In 1952, however, Ballantine Books changed all that by becoming the first paperback publisher to release novel-length science fiction stories that were sophisticated, intelligent and thematically serious. In 1953, Ballantine Book No. 41 was releaseda"Ray Bradburyas Fahrenheit 451a"and the paperbackas science fiction genre launched like a rocket heading to Venus.

The popularity of this new genre wasnat lost on new paperback publisher, Ace Books, which became known primarily for its publication of sci-fi t.i.tles. Not content with publis.h.i.+ng one science fiction novel at a time, Ace came up with an interesting gimmicka"the double novel. Priced at thirty-five cents, the aAce Doublea featured two paperback novels bound back-to-back with the back cover appearing upside-down in the racks. The stories contained within these adoublea paperbacks were novellas or long short stories, rather than novels, but the reading public didnat carea"they loved getting two books for the price of one! The format also worked to the advantage of Ace Books, as they were able to combine the work of an unknown (and, therefore, less expensive) writer with that of a prominent and popular author. As a result, the careers of more than a few aspiring science fiction writers were launched via the innovative aAce Double.a Science fiction would not be the only genre with t.i.tles flying off the shelves in the early 1950s, however. And, it is unlikely that even Gold Medal Books knew, in 1950, just how successful its first lesbian-themed paperback original novela"Womenas Barracksa"would be. Written by Tereska Torres, and based on her experiences in London with the French Resistance movement during World War II, the book was not intended to launch an entire lesbian genrea"it was a story about women during wartime, some of whom happened to be romantically involved with other women. The story simply resonated with men and women alikea"both straight and gaya"and by the end of 1950 had sold more than a million copies for Gold Medal.

Womenas Barracks also caught the attention of the government, unfortunately, and was singled out by the Gathings Committee as an example of how the paperback industry was subverting the morals of America. The threat of fines and incarceration made the paperback industry skittish about publis.h.i.+ng anything that could be considered aindecenta and before long, a sort of self-censors.h.i.+p was in full swing. Many stories featuring characters that lived their lives outside the rules of the prevailing morality of the times soon became dark and punis.h.i.+ng, as there could be no happy endings for those who defied convention. Still, the lesbian t.i.tles were enormously popular and soon paperback publishersa"beginning with Gold Medala"realized sales would skyrocket if they moved from reprints to apaperback originals.a This move toward of the publication of original fiction by paperback companies created an immediate and strong demand for writers and provided unprecedented opportunities for women writers in particular. While it is true that some of the lesbian t.i.tles during the 1950s were written by men using female pseudonyms, a good number were written by women, many of whom were lesbians themselves. And although they were still required to write within the prescribed moral guidelines set by their editors, quite a few were able to portray the lesbian lives of their characters with a significant degree of honesty and compa.s.sion.

For lesbians across the country, especially those living isolated lives in small towns, these books provided a sense of community they never knew existeda a connection to women who experienced the same longings, feelings and fears as they dida"the powerful knowledge that they were not alone. With the birth of the lesbian-themed pulp novel, women who loved women could finally see themselvesa"their experiences and their livesa"represented within the pages of a book. They finally had a literature they could call their own.

We are excited to make these wonderful paperback storiesa these pulp novels, as they have come to be known, available in ebook format to new generations of readers. We present them in their original form, with very little modification, so as to preserve the tone and atmosphere of the time period. In fact, much of the languagea"the slang, the colloquialisms, the lingo, even the spellings of some wordsa"appear as they were written fifty or sixty years ago. We hope you will enjoy this nostalgic look back at a period in American history when dames were dangerous, tough-guys were deadly and dolls were downright delicious.

a" Kathryn James, Editor.

For more cla.s.sic lesbian pulp ebooks, visit us online at www.vintage-pulp-ebooks.com!.

Love the book cover? Get fabulous gift products featuring pulp cover art at our online store, Vintage Pulp Cover Art (http://www.cafepress.com/pulpcoverart) a" posters, refrigerator magnets, t-s.h.i.+rts, notecards and more!.

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