by Jeff Goins
This is a difficult season, the week after Christmas. It’s a mini-season of limbo, an awkward in-between time, and people have different ways of dealing with it.
Some are still running on fumes from the emotional high that opening presents and seeing family brought. They may even try to extend the holiday an extra week, with varying degrees of success.
Others feel guilty for over-indulging in holiday sweets and are on a weeklong shame fest. They are already starting to make those New Year’s resolutions.
Continue reading: http://goinswriter.com/post-christmas-blues/
Monday, December 28, 2015
Saturday, December 26, 2015
[Link] Literary Iceland Revels In Its Annual 'Christmas Book Flood'
by Jordan G. Teicher
In the United States, popular holiday gifts come and go from year to year. But in Iceland, the best Christmas gift is a book — and it has been that way for decades.
Iceland publishes more books per capita than any other country in the world, with five titles published for every 1,000 Icelanders. But what's really unusual is the timing: Historically, a majority of books in Iceland are sold from late September to early November. It's a national tradition, and it has a name: Jolabokaflod, or the "Christmas Book Flood."
"The culture of giving books as presents is very deeply rooted in how families perceive Christmas as a holiday," says Kristjan B. Jonasson, president of the Iceland Publishers Association. "Normally, we give the presents on the night of the 24th and people spend the night reading. In many ways, it's the backbone of the publishing sector here in Iceland."
Read the full article: http://www.npr.org/2012/12/25/167537939/literary-iceland-revels-in-its-annual-christmas-book-flood
In the United States, popular holiday gifts come and go from year to year. But in Iceland, the best Christmas gift is a book — and it has been that way for decades.
Iceland publishes more books per capita than any other country in the world, with five titles published for every 1,000 Icelanders. But what's really unusual is the timing: Historically, a majority of books in Iceland are sold from late September to early November. It's a national tradition, and it has a name: Jolabokaflod, or the "Christmas Book Flood."
"The culture of giving books as presents is very deeply rooted in how families perceive Christmas as a holiday," says Kristjan B. Jonasson, president of the Iceland Publishers Association. "Normally, we give the presents on the night of the 24th and people spend the night reading. In many ways, it's the backbone of the publishing sector here in Iceland."
Read the full article: http://www.npr.org/2012/12/25/167537939/literary-iceland-revels-in-its-annual-christmas-book-flood
Friday, December 25, 2015
The Holiday Re-Runs -- A Christmas Wish for You!
Merry Christmas, Happy Holidays, and Seasons Greetings to all (and God bless us, everyone! -- thanks, Tiny Tim)
=======================================
He paused, and the Grinch put a hand to his ear
And he did hear a sound rising over the snow
It started in low ...
... then it started to grow ...
But this--this sound wasn't sad!
Why, this sound sounded ...glad!
Every Who down in Whoville,
the tall and the small,
was singing--without any presents at all!
He hadn't stopped Christmas from coming--it came!
Somehow or other, it came just the same.
And the Grinch, with his Grinch feet ice cold in the snow,
Stood puzzling and puzzling:
"How could it be so?
It came without ribbons! It came without tags!
It came without packages, boxes or bags!"
He puzzled and puzzled, till his puzzler was sore.
Then the Grinch thought of something he hadn't before:
"Maybe Christmas," he thought, "doesn't come from a store--
Maybe Christmas--perhaps--means a little bit more."
And what happened then--well, in Whoville they say
That the Grinch's small heart grew three sizes that day.
And then the true meaning of Christmas came through,
And the Grinch found the strength of ten Grinches--plus two.
-- Dr. Seuss, "How The Grinch Stole Christmas"
=======================================
Now
the birth of Jesus Christ was on this wise: When as his mother Mary was
espoused to Joseph, before they came together, she was found with child
of the Holy Ghost. Then Joseph her husband, being a just man, and not
willing to make her a public example, was minded to put her away
privily. But while he thought on these things, behold, the angel of the
Lord appeared unto him in a dream, saying, Joseph, thou son of David,
fear not to take unto thee Mary thy wife: for that which is conceived in
her is of the Holy Ghost. And she shall bring forth a son, and thou
shalt call his name Jesus: for he shall save his people from their sins.
Now all this was done, that it might be fulfilled which was spoken of
the Lord by the prophet, saying, Behold, a virgin shall be with child,
and shall bring forth a son, and they shall call his name Emmanuel,
which being interpreted is, God with us. Then Joseph being raised from
sleep did as the angel of the Lord had bidden him, and took unto him his
wife: And knew her not till she had brought forth her firstborn son:
and he called his name Jesus.
-- Matthew 1: 18-25 (KJV)
Thursday, December 24, 2015
Holiday Re-Runs -- Free Story "Nor Doth He Sleep"
Nor Doth He SleepBy Sean Taylor
An iHero Entertainment Holiday Story
Then pealed the bells more loud and deep:
"God is not dead, nor doth he sleep;
The wrong shall fail, the right prevail,
With peace on earth, good will to men."
—Henry Wadsworth Longfellow
As the knife bit into the girl’s back, it pierced to the hilt, and a wet, red stream poured from the incision. Red and green lights from the street decorations blinked into the alley, flicking the scene from gray dirt and faded concrete to colorized extravagance and back to gray again The man watching impotently from a few feet away jerked against the two grunts holding his arms, but he couldn’t pull away. His fiancĂ© lay on the ground, face pressed against the pavement, sputtering and coughing through her tears. On her back sat a third thug, a slug of a man in a denim jacket, his wrists all but rolling fat skin back to cover the cuffs as he played with the knife, wiggling it without removing it from the meat a few inches above the girl’s waist.
“Let her go!” he yelled, but in response all he got was a punch in his gut.
The two guys holding him laughed when he gasped to regain his breath.
“Let her go, damn it!”
Another gut punch.
“Or what? You’ll cry?” asked the tallest of the thugs, a white guy with green hair whipped about like a pretty boy in one of those Japanese comic books.
“Or cough up blood?” said the other thug, a squat muscle-head with fat arms stuck to his otherwise fit torso. “Or puke on us?”
Pretty Boy glared at Fat Arms, and he shut up.
“C- Carlos…” the girl stuttered.
“Hang on, Cynthia,” the man said.
All the while, I lay in the corner of the alley, hoping to God they all just go the hell away.
I had done the hero thing before, even worn a fancy-ass costume, well, fancy for my standards. Pretty sure it wouldn’t have even registered on the scale of guys like Pulsar and The Minuteman or chicks like Living Doll or Fishnet Angel.
Hell, I’d even worked with Doll and Angel since we all lived in the same damn city.
And just like the rest of them, I even had a “secret origin,” just like in the comic books. On the way to throw myself from the top of a worn-out building because of a sucky life and broken heart, I got stopped by some crazy woman who touched my arm and then told me the day I was going to die—four days before my 42 birthday. Only, she promised I’d die as a hero, a hero killed by another hero, one of the so called brightest and best of heroes.
And she’d been right… at first. Nothing killed me. Bullets? Sure, I took ‘em and they hurt like hell, but I got better. Take a punch in the face from a super villain who could derail a train? Lost some teeth and a lot of blood, but I healed eventually. Follow a suicide off a roof to cushion his fall at the bottom? Why not? Same shit, different day, as the saying goes.
That was me. The Grandstander, a.k.a., the “I got hurt but I got better” man. Even had my own goddamn room kept ready at the hospital.
Only last June, I turned 43 here in an alley in Cristol City, lost among the forgotten riff raff huddled beneath old newspapers and other trash in the shadows of the alleyway dumpsters. Very much alive. And very much aware that playing the hero could get me killed. Killed very dead.
No longer a hero. Just another man who had finally grown up and realized his own mortality.
So I quit. No going away parties or citywide celebrations of my time behind the mask. Just there one day and gone the next. The papers had run stories for months speculating about what had happened. Eventually they gave up guessing and just didn’t care anymore. No more “What Happened to the Grandstander?” I stayed hidden. Lost. Forgotten. Sleeping away the terror of death. Just the way I wanted it.
If only these punks would shut up and get the hell out of my alley.
Cynthia started screaming, and that set off Carlos, and the guys holding him tossed him back against the wall and wailed punch after punch into his gut and chest. He shut up fast, but they didn’t stop. After about a minute, when they finally figured he had enough, he dropped to his knees between them, struggling to breathe through what had to be several broken ribs.
I recognized the struggle. I’d been there more times than I could remember.
The slug on Cynthia’s back pulled the knife out and slammed it down again, this time into the muscle of her shoulder. Not as much blood, but a lot more noise from the girl. He jerked her head back, exposing the dirty skin of her neck to the night air, and I thought for a moment that he would slash her lithe little throat. Instead, he covered her mouth with his hand, leaving the knife in her shoulder.
“Zip it, baby, and all I’ll take is all your money, cards and the gadgets and shit you bought for Christmas presents.” He laughed. “Needed a new phone anyway. Saw you leaving Radio Shack when we followed you. Hope for your sake you got one of those.”
“Let… Let her go,” Carlos sputtered.
He was rewarded for the effort with a boot in jaw. A bone cracked. Loud.
“If not, maybe you could give me a little something else for Christmas, baby,” the slug said, grinding against her back.
A car drove by the mouth of the alley, and everything stopped just long enough to make out the music rumbling from a passing car. It was Springsteen reminding the city who was coming to town and making sure Clarence had been “real good” this year.
I laughed.
And immediately realized it had been a really, really bad idea.
Five pairs of eyes suddenly turned to look at me. Two pairs begging for help. The other three pairs biding their time to figure out if I was a threat or a witness or simply the same silent alley decoration they normally encountered.
For about a second, I wondered the same thing myself.
The slug ripped the blade from Cynthia’s back and stood up, pushing his blobbish weight to one knee to hold it steady while he pushed up with the other one. He wobbled a bit, but righted himself more easily that I had expected.
“Fuckin’ A,” he said. “Looks like we got some extra trash in this here alley.” He walked toward me.
I pulled my knees toward my chin and started to sing Rudolph the Red-Nosed Reindeer. I kept singing while he walked all the way to me and crouched in my face. His breath reeked of onions and garlic. I didn’t make eye contact. He just stared, not saying anything, and I kept singing, going over the part where all the reindeer loved him a second time just to take up more time.
“Keep singing, Rudolph,” he said. “And remember you didn’t hear shit.” He flicked the knife at my wrinkled t-shirt collar. “And that way you can live long enough to booze it up again tomorrow.”
I felt the crotch of my pants grow warm and wet.
The slug laughed. “He pissed himself. The bum pissed himself.”
I stopped singing. “I did,” I said. “But not for the reason you think. It’s not you I’m afraid of.”
“A big man all the sudden, huh?” The slug cocked his arm at the elbow, knife in ready position. I grinned so wide he couldn’t miss it. He never should have pulled it away from my neck.
The butt of my palm collided with his chin and something cracked. Before he had fallen backwards all the way to land on his ass, I already saw blood draining from the corners of his eyes. I grabbed his hoodie to keep him steady and pulled him to me as I stood up. At six and a quarter in my shoes, I towered over him. My knee, which would have hit him in the stomach had he been a taller man, instead connected with his already busted jaw, and he went limp against me. I grabbed his shoulders and guided his face past the wet spot on the front of my jeans as he melted into the ground.
By this time, Pretty Boy and Fat Arms had let Carlos go and were running toward me. Pretty Boy held a clip-loaded pistol and was raising it at me. Fat Arms swung a military blade from sling on his thigh.
“Get her the hell out of here!” I yelled to Carlos, and as I hit the last word, Fat Arms was slinging his blade toward my gut. I weaved and dodged, but being a hidden and forgotten drunk had played hell with my reactions, and even though I missed the worst of the cut, the blade did manage to rip through my side and take a few inches of skin with it.
Red blood mixed with the coffee stains and dirt on my shirt, and I knew I’d most likely end up with an infection. Stupid.
“Shit!” I yelled and brought my elbow down on the back of Fat Arms’ head. “That really hurts, you dumbass.”
“Shoot him!” Fat Arms shouted, and sure enough, Pretty Boy aimed his gun at my face and pulled the trigger. But it misfired, and I didn’t waste any time running for the son of a bitch and took him to the ground with a dive that landed me on top of him. Taking what little opportunity I had I bit into his shoulder with the best grip my teeth could muster and ripped away what I could of his skin and muscle there.
Okay, it wasn’t what the Minuteman would have done, but we couldn’t all be the fucking Minuteman, could we?
He screamed, and when I covered my ears, something hit me in the back of my head, sending me onto the concrete. When the stars stopped twinkling and the lights came back on the slug had his fat foot crunched on my left shoulder, and Pretty Boy had his black boot on my right one.
“You’re the bravest fuckin’ hobo I’ve ever seen, but you cost me a few hundred tonight…” The slug looked at Pretty Boy and grinned. “…and possibly and hot piece of ass.”
“I don’t think you’re her type,” I said.
“Can I cut him up, Will?” Fat Arms asked from somewhere off to the right beyond my line of vision.
“Fuck that,” said Will the slug. “This asswipe is gonna eat a bullet.”
“Hope you brought ketchup,” I said.
“Listen, Rudolph,” Will said, still wiping blood from the corners of his eyes. “All you hadda do was keep your trap shut, but no, you had to play the hero and so now we—”
“Play the hero.” I laughed.
“What?”
Both feet pushed harder on my shoulders and I could feel the rocks on the concrete dig into my back, no doubt making a lovely painful pattern of indentions across my skin.
“You said play the hero.”
“Yeah. So?”
“I did that before.”
“And it’ll be the last thing you ever did, Rudolph.”
“You’re missing the point,” said, keeping them talking instead of letting them think long enough to realize that they should just pull the trigger already. “I used to play the hero. I played the costume. I played the mask. I even played the name. You see, I was only playing at it then because I didn’t think it would really hurt me, not permanently anyway.”
“He’s nuts, Will,” Fat Arms said. “Let me cut him up. Maybe take one of his nuts. That’ll shut him up.”
“But I’m not playing now.” My smiled went flat. “And my name’s not Rudolph.”
* * *
Carlos was still going on about the fight while paramedics loaded his fiancĂ© into the ambulance. He stood behind the doors as Cynthia’s unconscious body was lifted, gurney and all, and rolled in the open doorway. The light from the fire truck and three squad cars gave him a funky purple glow as the 40-something cop took down his statement.
No doubt using lots of capital letters and exclamation points, if he was really getting it just like Carlos was saying it.
“…like a bat outta hell, I tell you. One minute he’s down on the ground with a gun pointing at his face…”
Me, I was waiting my turn on a second gurney, wondering if I’d ever walk again after Pretty Boy has managed to squeeze off two shots through my left thigh. And I was wondering too just how damn long it took a blonde paramedic with thick full lips to find the damn morphine in the back of the ambulance so I could stop hurting long enough to think about how much I wanted to flatten those lips of hers against my own.
In the old days I wouldn’t have let a second thought pass without just leaning up and planting one on her. But in the old days I didn’t smell like booze and the trash I’d been sleeping in. In the old days there had been a nice line of abs that flowed in one smooth line from my chest across my stomach. In the old days, there had been a trendy coarse stubble on my face and not a mangy tangle of knots that hadn’t been shaved or much less brushed in months.
So I lay there.
“…and the next minute, he’s up on his feet and has the fat one up against the wall. Then there’s all this punching and blood, and I’m still dragging Cynthia out of the alley.”
“Yes, sir.” The cop nodded and kept writing.
“Then there are these two gunshots, and I watch him, I mean fucking watch him get shot in the leg twice, but he doesn’t go down. He just keeps on walking toward the dude with the gun, and he takes it from him and just head butts him in the face, and the guy goes down. One head butt and he hits the ground.”
“Uh-huh.”
I heard the music from the front of a nearby squad car as I waited. Sounded like Judy Garland singing “O Holy Night,” but not quite Judy Garland singing “O Holy Night” at the same time, you know.
“And the last guy?” the cop asked.
“Hell, he couldn’t get out of the alley fast enough, but even with a shot-up leg, this dude runs, takes off and runs like fuckin’ Jessie Owens or something and tackles the guy and takes the knife away from him.”
“Uh-huh.”
“It was like he’s some kind of, I don’t know, super hero or something.”
Vigilante, I wanted to correct him. Ain’t got no powers, so I can’t be a super hero. Just an idiot in a mask. A vigilante. But I kept my trap shut. Mostly because I was afraid of what I’d say if the damn paramedic didn’t get the morphine in me soon.
Judy Garland stopped singing, and Louis Armstrong jumped in to take her place. “Zat you, Santa Claus?” he asked. I laughed.
Hell no, I thought. Not Santa Claus, not the Grandstander. Hell, I was barely Larry Moore anymore.
The paramedic returned with a smile and a syringe. I smiled back, mostly with my eyes, because my mouth wouln’t cooperate, and like her eyes lit up they figured out something she’d been wondering about for a while. “Oh my God,” she said. “It’s you.”
“Nah,” I said. “I haven’t been me for a long time.”
“You’re the—”
I shook my head.
Trumpet solo. Drums. Almost a celebration. A big noise anyway.
“You can’t hide it. I know it’s you.”
“Sure, kid. Merry Christmas.” I forced a grin. “So should I kiss you or just bleed to death?”
“What?” she asked with her thick lips.
“Do you think he used to be some kinda super hero?” I heard Carlos ask the cop.
“Don’t know,” the cop answered.
“Don’t tell ‘em,” I whispered to the paramedic as she stuck me with the needle. “Let ‘em guess.”
I decided to kiss her later. If she was lucky.
Wednesday, December 23, 2015
Holiday Re-Runs -- A Holiday Message from Sean Taylor
No bah. No humbug. X's allowed!You know, it's okay to tell me happy holidays instead of Merry Christmas, even if you're a fellow member of my faith. I'm not going to get in your face about how you're not "keeping Christ in Christmas."
I don't care if you use Xmas either, because I understand the history of the X (and that it precedes both Malcolm and Stan Lee).
I understand that Constantine and his ilk thoroughly mixed the birth of Christ with pagan celebrations to obtain political ends. And if people still continue that today, they're not "not keeping Christ in Christmas" -- they're just continuing the blending that Constantine started all those years ago.
I get that.
If my understanding of the holiday season is about the work of Christ incarnating into humanity in order to be a perfect substitutionary sacrifice on humanity's behalf, then nothing you say or refuse to say can change one jot or tittle from that. No dollar sign can attach to it. And you can't wrap it or stuff it on a tree.
Just because the word "Christ" is in "Christmas," it does not, nor should it ever, give me carte blanche to hassle you about becoming like me. (I would love for others to find what I've found, but it's not my job to be God's used car salesman or God's Internet spammer.)
All this to say, I hope that you have a wonderful time getting together with your friends and family. I hope you take advantage of this time to share some of your wealth with those less fortunate (trust me, in comparison to the rest of the globe, you ARE bone-idle rich). I hope you experience the love of those around you and share that love with everyone you encounter.
And I hope that, somewhere, in the busy-ness of this season, you find a few moments of peace on earth to contemplate the true and higher peace the angels spoke (not sang) about when they said: "Glory to God in the highest, and on earth peace among men with whom He is pleased."
Merry Christmas! Happy holidays! Peace on earth!
Tuesday, December 22, 2015
The Cover Story (Part 1) -- Pulps, Women, Sexism, and Power
by Sean Taylor
If you know me at all, you know I'm a fan of classic pulp magazine covers. Now, I'm not about to try to pretend that most of them aren't sexist or that lots of them probably warped the imaginations of boys everywhere in all kinds of testosterone-driven, perverse, kinky, and misogynistic ways. And to dismiss them with a mere "Well, it was a different time with different values..." is, well, kind of a cop-out.
Still... I want to look at them with an eye for art and culture over the next few weeks here on the blog, and we're going to start right in the middle of the deep end -- the women in peril covers -- perhaps the vilest offenders to gender equality.
But, as least the way I see it, when looked at in the right light, they can be admired and studied for what they say about the cultural norms of the time and the audience the pulps were reaching.
This one is probably the most abundant cover style of the pulp magazines of the "classic" era. A woman's in trouble, and some heroic guy is waving a gun or smashing some bad guy with his fist in order to try and save the day. My favorites of this style are the ones in which the hero is not on the cover at all, but merely implied.
Sometimes, even, the only danger is that, like in fairy tales, the lost princess only needs to be found, or the sleeping princess awakened.
This is where the covers can jump from inequality (or male fantasy) to downright mysogony. This is not just violence against women, but violence purely for the sake of terror and power. Cue the "They're coming to get you, Barbara," and realize there's no one around to save the damsel in distress, most notably not herself. Simply put, she's screwed. (At least until the story "redeemed" the cover image by having the hero show up and thus "softening" the cover image by just being part of the story.
This is where the two previous categories meet sci-fi and horror. Whether or not the hero is around in the image, the women in peril are not plagued by mere men anymore, but gods, monsters, aliens, and metal creatures. The use of the outsider instead of a mortal man as the villain of the image definitely takes the edge off the subjugating of the female and wraps it up in the dressing of adventure and exploration in most cases.
It was only logical that there would be covers that combined the monsters and creatures but also retained the sort of sexual one-upsmanship against women. I'm not fully convinced this was to subjugate the female of the species, but more to appeal to the male ego to ultimate be the hero -- and the bigger and more terrifying the bad guy, the more heroic by extension. That said, most of this type of cover leaned toward the "No Hero in Sight" style, at least for the image. Most likely to let the reader put himself in that role instead of sharing the spotlight with a hero on the cover.
Even something as innocuous as the serial THE PERILS OF PAULINE is rooted in the taking of sexual power from the female. It's a mere step away from domination and bondage, just dressed up in less kinky clothes. And lots of pulp covers realized that appealing to the male sense of sexual power meant sales. Lots of sales. Even if they kept the really kinky stuff in the closet and teased about the fetishes they were promoting.
Forced stripping. Bondage. Necrophilia. Body modification. Branding. Lesbianism. Agalmatophilia (look it up). Breathplay.
It wasn't just about women in skimpy lingerie or ripped clothing at the mercy of a strong, virile man. It also grew darker, with the ultimate sexual objectification of the woman as mere property, mere decoration to be lusted purely as a "thing" -- no longer a person. Encase them in ice. Marry them to the dead. Coat them in gold. Put them on display. Lock them away tight in ropes or in a box. Turn them into mindless robots. Bend them to your will and keep them at your feet. It's perfectly all right... as long as the hero shows up before the really important girl gets reduced to a mere object.
Or even better, get other women to treat them as mere toys or playthings.
Then the proverbial poo sometimes really hit the fan. Sometimes the sexual power didn't stop at objectification or degradation. Sometimes it had to really, truly reduce a woman (at best) to being marked (as with a brand or cuttings) to being permanently lessened in some way (usually through the removal of limbs -- perhaps the ultimate objectification or reduction to a less than human thing) -- or even to death by some overly violent method that is designed for great pain and humiliation.
This level of graphic illustration also influenced the comics and in part helped lead to THE SEDUCTION OF THE INNOCENT and the creation of the comics code.
These are the covers that can be difficult to defend, yet they can also have the most ardent supporters and fans.
Then came Men's Adventure magazines, and they embraced everything that had come before, and twined it all together without any apologies. Nazi sadists beating poor virgins with whips. Brutal gangs feeding sex slaves to crocodiles. Tribal natives sacrificing bloodied maidens to fertility gods. Nothing was sacred.
To be fair, not all Men's Adventure magazines blended sex and violence in such graphic ways. Many simply told more titillating tales of heroes rescuing the damsel in distress. But the lure of blending sex and torture to creative visually stimulating (yes, I mean what it says) temptations was too easy, too readily the low-hanging fruit.
The world hated and lusted white women, and only red-blooded American men could save their virtue and soft, tender flesh. (And then, as a reward, get all that virtue and flesh served up on a plate in gratitude.)
Admittedly, many of the images from the Men's Adventure magazines weren't really anymore graphic or titillating than the covers from the earlier years of pulp magazines, but when combined with erotically charged headlines and cover copy, the illusion was solidified. Not only that, but even if the images themselves were not worse, and often more tame visually, the implied intent of violence and degradation toward the female victims filled in the space between the lines (so to speak) to make the message pretty damn clear after all.
Now, this may seem like a harsh critique of the pulp era, but understand this: I totally love this stuff. I really, really do. I geek on this. I'm not some kind of Chief Officer of Political Correctness, but I do acknowledge a certain worldview in these covers that considers men heroes and women victims.
That said, I still find the stories and the images a lot of fun. I know that as modern readers we can read into these stories and covers more than was intended. I get that. But I also can be a grown-up enough fan to understand that the world has changed and that they form a sort of time capsule to days gone by that weren't so magnanimous toward the roles of women and completely embraced the notion of "foreign devils."
Next week we'll look at how pulp covers empowered women instead of merely subjugating and objectifying them. And a little after that, we'll look at what pulp covers got right to help little boys grow up to be confident, stalwart men.
So, until next time, keep it pulpy.
If you know me at all, you know I'm a fan of classic pulp magazine covers. Now, I'm not about to try to pretend that most of them aren't sexist or that lots of them probably warped the imaginations of boys everywhere in all kinds of testosterone-driven, perverse, kinky, and misogynistic ways. And to dismiss them with a mere "Well, it was a different time with different values..." is, well, kind of a cop-out.
Still... I want to look at them with an eye for art and culture over the next few weeks here on the blog, and we're going to start right in the middle of the deep end -- the women in peril covers -- perhaps the vilest offenders to gender equality.
But, as least the way I see it, when looked at in the right light, they can be admired and studied for what they say about the cultural norms of the time and the audience the pulps were reaching.
Category 1: White Knights to the Rescue
This one is probably the most abundant cover style of the pulp magazines of the "classic" era. A woman's in trouble, and some heroic guy is waving a gun or smashing some bad guy with his fist in order to try and save the day. My favorites of this style are the ones in which the hero is not on the cover at all, but merely implied.
Sometimes, even, the only danger is that, like in fairy tales, the lost princess only needs to be found, or the sleeping princess awakened.
Category 2: No Hero in Sight
This is where the covers can jump from inequality (or male fantasy) to downright mysogony. This is not just violence against women, but violence purely for the sake of terror and power. Cue the "They're coming to get you, Barbara," and realize there's no one around to save the damsel in distress, most notably not herself. Simply put, she's screwed. (At least until the story "redeemed" the cover image by having the hero show up and thus "softening" the cover image by just being part of the story.
Category 3: Attack of the Monsters
This is where the two previous categories meet sci-fi and horror. Whether or not the hero is around in the image, the women in peril are not plagued by mere men anymore, but gods, monsters, aliens, and metal creatures. The use of the outsider instead of a mortal man as the villain of the image definitely takes the edge off the subjugating of the female and wraps it up in the dressing of adventure and exploration in most cases.
Category 4: Mad Scientists
It was only logical that there would be covers that combined the monsters and creatures but also retained the sort of sexual one-upsmanship against women. I'm not fully convinced this was to subjugate the female of the species, but more to appeal to the male ego to ultimate be the hero -- and the bigger and more terrifying the bad guy, the more heroic by extension. That said, most of this type of cover leaned toward the "No Hero in Sight" style, at least for the image. Most likely to let the reader put himself in that role instead of sharing the spotlight with a hero on the cover.
Category 5: Sexual Power and Toying with Fetishes
Even something as innocuous as the serial THE PERILS OF PAULINE is rooted in the taking of sexual power from the female. It's a mere step away from domination and bondage, just dressed up in less kinky clothes. And lots of pulp covers realized that appealing to the male sense of sexual power meant sales. Lots of sales. Even if they kept the really kinky stuff in the closet and teased about the fetishes they were promoting.
Forced stripping. Bondage. Necrophilia. Body modification. Branding. Lesbianism. Agalmatophilia (look it up). Breathplay.
It wasn't just about women in skimpy lingerie or ripped clothing at the mercy of a strong, virile man. It also grew darker, with the ultimate sexual objectification of the woman as mere property, mere decoration to be lusted purely as a "thing" -- no longer a person. Encase them in ice. Marry them to the dead. Coat them in gold. Put them on display. Lock them away tight in ropes or in a box. Turn them into mindless robots. Bend them to your will and keep them at your feet. It's perfectly all right... as long as the hero shows up before the really important girl gets reduced to a mere object.
Or even better, get other women to treat them as mere toys or playthings.
Category 6: Truly Graphic Horror
Then the proverbial poo sometimes really hit the fan. Sometimes the sexual power didn't stop at objectification or degradation. Sometimes it had to really, truly reduce a woman (at best) to being marked (as with a brand or cuttings) to being permanently lessened in some way (usually through the removal of limbs -- perhaps the ultimate objectification or reduction to a less than human thing) -- or even to death by some overly violent method that is designed for great pain and humiliation.
This level of graphic illustration also influenced the comics and in part helped lead to THE SEDUCTION OF THE INNOCENT and the creation of the comics code.
These are the covers that can be difficult to defend, yet they can also have the most ardent supporters and fans.
Category 7: Men's Adventure Cranks It Up a Notch (or to Eleven)
Then came Men's Adventure magazines, and they embraced everything that had come before, and twined it all together without any apologies. Nazi sadists beating poor virgins with whips. Brutal gangs feeding sex slaves to crocodiles. Tribal natives sacrificing bloodied maidens to fertility gods. Nothing was sacred.
To be fair, not all Men's Adventure magazines blended sex and violence in such graphic ways. Many simply told more titillating tales of heroes rescuing the damsel in distress. But the lure of blending sex and torture to creative visually stimulating (yes, I mean what it says) temptations was too easy, too readily the low-hanging fruit.
The world hated and lusted white women, and only red-blooded American men could save their virtue and soft, tender flesh. (And then, as a reward, get all that virtue and flesh served up on a plate in gratitude.)
Admittedly, many of the images from the Men's Adventure magazines weren't really anymore graphic or titillating than the covers from the earlier years of pulp magazines, but when combined with erotically charged headlines and cover copy, the illusion was solidified. Not only that, but even if the images themselves were not worse, and often more tame visually, the implied intent of violence and degradation toward the female victims filled in the space between the lines (so to speak) to make the message pretty damn clear after all.
Finishing Blows...
Now, this may seem like a harsh critique of the pulp era, but understand this: I totally love this stuff. I really, really do. I geek on this. I'm not some kind of Chief Officer of Political Correctness, but I do acknowledge a certain worldview in these covers that considers men heroes and women victims.
That said, I still find the stories and the images a lot of fun. I know that as modern readers we can read into these stories and covers more than was intended. I get that. But I also can be a grown-up enough fan to understand that the world has changed and that they form a sort of time capsule to days gone by that weren't so magnanimous toward the roles of women and completely embraced the notion of "foreign devils."
What the Future Holds...
Next week we'll look at how pulp covers empowered women instead of merely subjugating and objectifying them. And a little after that, we'll look at what pulp covers got right to help little boys grow up to be confident, stalwart men.
So, until next time, keep it pulpy.
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