By Peter Haining
A PICTORIAL background OF HORROR tales:
Two Hundred Years of Illustrations from the Pulp Magazines
This booklet is largely a page-for-page reprint of Haining's prior publication entitled "Terror: A heritage of Horror Illustrations from Pulp Magazines." there's no new fabric. the single distinction is it's a hardback with assorted conceal paintings. whereas it's particularly thorough in visually documenting the evolution of horror representation from the "penny-dreadful" magazines of the Victorian age throughout the pulps of the '30s and '40s, it has an immense shortcoming -- lots of the luridly colourful pulp journal conceal pictures are reproduced in B&W. That makes for a really monotonous learn. nowadays, more recent books concerning the pulps continually reproduce the covers in excellent colour. Why they didn't see healthy to do this within the '70s and and '80s is a secret and a disgrace. somebody must revisit the topic of horror pulps and do it right.
4to, modern illus bds with lurid photograph of monster attacking a dozing girl, 176pp. Lavishly illus in color and in B&W. Many artists are represented: Mary Byfield, Henry Anelay, John Gilbert, Sidney Paget, Margaret Brundage, and so on. those illustrations are consistently fascinating.
A ceremonial dinner of nightmares in photographs, rescued from the crumbling pages of lengthy useless periodicals. levels over 2 hundred years of gory, ghoulish and terrifying from the 1st Gothic engravings of Mary Shelley's Frankenstein to that wealthy and sundry treasure condo of horror illustrations
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Extra info for A Pictorial History of Horror Stories
6–dc22 2009048158 Henry Holt books are available for special promotions and premiums. For details contact: Director, Special Markets. First Edition 2010 Designed by Meryl Sussman Levavi Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 For Megan Every marriage tends to consist of an aristocrat and a peasant. —JOHN UPDIKE, Couples I pity the man who can travel from Dan to Beersheba, and cry, ’Tis all barren—and so it is; and so is all the world to him who will not cultivate the fruits it offers.
She watches him, not knowing if she should make a run for it. But he pays her no attention at all, just puffs on his cigar and stares out into the night. Finally she says, What you want anyway? This is the first time he turns to look at her, like she’s a ladybug landed on his knuckle or something. I want lots of things, he says. But nothin you got the power to deliver. She squints at him a little while longer but determines the threat is not an immediate one, so she sits back. That’s just fine, she says.
She picks up the flashlight from the floor, which is now slippery with blood and excrement. Then she finds a clean part of the woman’s slip and rips it off and uses it to wipe her gurkha clean. Meatskin tango, she says. Godawful messy business that is. SEE, THERE’S a music to the world and you got to be listening otherwise you’ll miss it sure. Like when she comes out of the house and the nighttime air feels dreamy cold on her face and it smells like the pureness of a fresh land just started. Like it was something old and dusty and broken taken off the shelf to make room for something sparkle-new.
A Pictorial History of Horror Stories by Peter Haining