- Taschenbuch: 96 Seiten
- Verlag: Chronicle Books; Auflage: 01 (1. August 2001)
- Sprache: Englisch
- ISBN-10: 0811830209
- ISBN-13: 978-0811830201
- Größe und/oder Gewicht: 19,8 x 1,3 x 26,2 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 629.181 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Queer Pulp: Perverted Passions from the Golden Age of the Paperback (Englisch) Taschenbuch – 1. August 2001
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Queer Pulp exposes the history of queer sexuality in mid-twentieth century American paperbacks. Historian Susan Stryker charts the rise of the queer paperback within the context of American pop- and publishing culture, with a peppy and accessible overview of the cultural, political, economic, and sociological factors involved. A diverse lot, queer pulp is most easily broken down in the categories of gay, lesbian, bisexual, and transgender themes. Within those subgenres, the books and authors themselves are accompanied by countless fascinating stories (for example, a former Georgetown University philosophy professor named H. Lynn Womack founded the notorious Guild Press, a major gay porn publishing house that was a prominent First Amendment crusader in the sixties). Featuring the work of such highbrow authors as W. Somerset Maugham and Truman Capote, to the no-brow hacks who worked under several names at once, Queer Pulp is the entertaining and informative introduction to these lost, lurid literary genres.
Über den Autor und weitere Mitwirkende
Susan Stryker is a Bay Area writer, activist, and scholar, and has been a visiting faculty member in the women's studies department at U.C. Berkeley.
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She covers the two sides of the pulp fiction market, the big mainstream publishers, who issued literature in a mass market format and so had to present Tennessee Williams, Gore Vidal, Somerset Maugham, Truman Capote, Radclyffe Hall, James Baldwin and others with suggestive images (the predictable shapely female with the half unbuttoned blouse) and come-on cover lines to generate sales, I bet they would have loved to change the titles to something more racy though. The other side was the very cheaply produced (but expensively priced) paperback that had no literary pretence and was produced for the 'one hand reader'. Plenty of these latter covers are shown and the designs are as predictable as the words inside but when you see them presented, sometimes four to a page, their overwhelming blandness becomes fascinating, however there are some that look as if a designer has been able to produce something creative with art and typography.
So many of the lowbrow and no-brow paperbacks are parodies of the genre, 'Hot Pants Homo' by Percy Fenster, 'The Man They Called My Wife' by Stark Cole' or 'Take My Tool' by Vivian LeMans, all with the appropriate tacky graphics and blurbs. Overall an interesting book (and well designed, too) about a slice of pop culture publishing that sold copies in the millions. Another book, also well designed, covering the same subject is Jaye Zimet's 'Strange Sisters' (ISBN 0140284028) with two hundred covers of lesbian pulp fiction. Both books will be appreciated by graphic designers and pop culture fans.
Stryker devotes separate chapters to the paperback revolution itself, as well as to lesbian, transgender, and gay male bodies of work. The covers are sometimes humorous, sometimes inane, but all of them give off a nervous sexual energy that still fills you up through your hands and eyes. She delves into the lives of the primary pulp creators, insofar as they have been divulged, and makes you feel with them as they created this enormous corpus. Chronicle Books has outdone itself with its huge, creamy graphics and must have had a good time doing so, with some amusing juxtapositions.
What happened to the end, though? The book ends without so much as an adieu, nearly in the middle of a paragraph. Perhaps the book's chic designer overrode whatever conclusion tthe author had written; they had perhaps run out of illustrations and, like Alice in the Lewis Carroll book, saw no sense in a book that had neither "pictures nor conversations." Instead, an able bibliography appears, meekly enough, and a tidy 4 page index.
Some of these authors are new to me, but I hope very soon to be able to pore through some of the books of Chris Davidson (GO DOWN, AARON; CAVES OF IRON; A DIFFERENT DRUM; THE GOLDEN TUFT), who sounds the most far-fetched of the lot. Will I be using one hand, or two, only time, or Tim, will tell.