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Jun 9, 2020 14 tweets 5 min read Read on X
Time once again for my occasional series "Women with great hair fleeing gothic houses." And today we visit Germany!

This may involve compound nouns... #TuesdayMotivation Image
Germany is of course the land of the spooky schloß, but there are many other domiciles that Frauen mit tollen Haaren can flee from... Image
They can flee a handsome Hanoverian crescent... Image
They can flee the haunted beach house of Heringsdorf Mecklenburg-Vorpommern... Image
They can flee 'cross the Spree from the bust of Nefertiti on Berlin's Museum Island... Image
They can flee the God-awful medieval banquet they put on for tourists at Marksburg Castle, before the jesters appear and everyone throws up their rotisserie chicken and beans... Image
They can flee the dismal dungeons of the Aachen Grashaus... Image
They can flee round and round the fachwerk facades of Dornstetten's Altstadt until they're dizzy... Image
Or they can just go to the Black Forest and scream at the prices. Image
Germany is of course a land of rules, and no fleeing is allowed unless gowns are ankle length. Image
Many German towns now frown upon women with great hair turning up unannounced at local historic monuments and demanding to flee them. These are now routinely locked after 5pm to stop such goings on, although you can apply for a municipal 'erlaubnis zu fliehen' in certain Länder. Image
Some German women are experimenting with cross-genre fleeing; for example fleeing an Aztec castle in the manner of Lara Croft. I doubt it will catch on, but well done for trying. Image
German men are also trying to get in on the gothic fleeing scene nowadays, but German women quite frankly aren't putting up with it! Image
And that's it for tonight's Germanic gothic fleeing guide. Kümmere dich darum, wie du fliehst... Image

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More from @PulpLibrarian

Sep 1
Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!

This will be interesting... Image
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set. Image
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri. Image
Read 17 tweets
Aug 25
"He lay beside the gently whispering stream - murdered!"

Scales Of Justice, by Ngaio Marsh. Fontana, 1958. Image
"Sucked to death in a seething cauldron of mud!"

Colour Scheme, by Ngaio Marsh. Fontana, 1960. Image
Death amongst the darts and drinks...

Death At The Bar, by Ngaio Marsh. Fontana, 1956. Image
Read 10 tweets
Aug 18
Today in pulp... a few covers by Reginald Heade. Image
Vice Rackets Of Soho, by Roland Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Sinful Sisters, by Ronald Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Read 16 tweets
Aug 16
Time once again for my occasional series "Women with great hair fleeing gothic houses!"

No, I hadn't forgotten... Image
Terror On Duncan Island, by Caroline Farr. Signet Gothic, 1971. Cover by Allan Kass.

Note: this is a sea-circled island. None of your oxbow lake nonsense here... Image
The Fortune Hunters, by Joan Aiken. Pocket Books, 1972.

When fleeing a gothic castle be sure to colour co-ordinate! Image
Read 18 tweets
Aug 13
If the spacesuit is the symbol of progress, the gas mask is the sign of the apocalypse. In popular culture it signifies that science has turned against us. It's the face of dystopia.

Today in pulp I look at the culture of the mask!
Image
Image
The first chemical masks were work by Venitian plague doctors: a bird-like affair, the beak stuffed with lavender, matched with full length coat and hat. It was a terrifying sight - the grim reaper come to apply poultices to your tumours. Image
But it was poison gas, first used at the Second Battle of Ypres in 1915, that led to the modern gas mask. At first these were cotton masks treated with chemicals. However their protection was limited. Image
Read 19 tweets
Aug 10
It's now over half a century since 1970, and I'm starting to wonder if we should bring back its concept of gracious modern living... Image
You see we've grown so used to Swedish-style modernism that we've sort of forgotten that maximalism, rather than minimalism, was once the sign of a cultured abode. Image
The 1970s in many ways reached back to the rich ideas of Victorian decor: heavy, autumnal and cluttered. Home was meant to be a baroque and sensual experience, rather than a 'machine for living in.' Image
Read 10 tweets

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