Articles

A LOOK AT THE PULPS

Part One: Spicy Adventure Magazine

Pulp magazines (or pulp fiction; often referred to as "the pulps") were inexpensive fiction magazines. They were widely published from the 1920s through the 1950s. The term pulp fiction can also refer to mass market paperbacks since the 1950s.

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The name "pulp" comes from the cheap wood pulp paper on which such magazines were printed. Magazines printed on better paper and usually offering family-oriented content were often called "glossies" or "slicks". Pulps were the successor to the "penny dreadfuls", "dime novels", and short fiction magazines of the nineteenth century. Although many respected writers wrote for pulps, the magazines are perhaps best remembered for their lurid and exploitative stories, and for their similarly 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. However the pulps were aimed more at adult readers whereas comic books were traditionally written for children and adolescents.

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Exploitation fiction is a type of literature that includes novels and magazines that exploit sex, violence, drugs, or other elements meant to attract readers primarily by arousing prurient interest without being labeled as obscene or pornographic. It is comparable to the Italian giallo genre.

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Exploitation fiction grew out of pulp fiction of the 1930s and 40s. It was popular "trash fiction" in the form of mass market paperbacks in the 1950s and 60s, when genuine, sexually explicit material could be seized as obscene. In the United States, material that went by U.S. mail was subject to federal obscenity laws that greatly curtailed the distribution of materials that were sexually explicit or featured graphic violence. These cheap novels exploited violence, drugs, and sex—especially promiscuity and lesbianism—but rarely delivered the kind of salacious detail their cover art implied and generally tacked on moralistic endings to satisfy critics who accused them of having "no redeeming social value." They were often repackaged under new titles with different cover art, to resell to the unsuspecting public looking for cheap thrills.