Today in pulp... my Top 20 DAW book covers from the early years of this legendary imprint.
I'm only looking at the first 10 years of DAW (1972-82), but believe me there's plenty to choose from! #SundayThoughts
I'll choose two DAW covers from each year between 1972 & 1982, which I think set the bar for pulp sci-fi cover design. It will be quite an eclectic mix.
I'm not ranking my Top 20 DAW covers, just suggesting they're amongst the best of DAW's first 10 years in terms of capturing the feel of the 70s and early 80s. Feel free to disagree...
DAW book covers #Top20: The Return Of The Time Machine, by Egon Freidell (1972). Karel Thole's triptych is both elegant and evocative.
DAW book covers #Top20: The Wandering Variables, by Louis Trimble (1972). Frank Kelly Freas sums up the playful, curious nature of DAW #SF.
DAW book covers #Top20: The Tin Angel, by Ron Goulart (1973). Jack Gaughan nails it - funny, bizarre and effective.
DAW book covers #Top20: The Pritcher Mass, by Gordon R Dickson (1973). I just love the floating ferret head - art by Frank Kelly Freas.
DAW book covers #Top20: Flux, by Ron Goulart (1974). Jack Gaughan again, with a counterculture #hipster droid.
DAW book covers #Top20: Stress Pattern, by Neil Barrett Jr (1974). Josh Kirby with a bold and silly cover that could have been used for Dune.
DAW book covers #Top20: Swan Song, by Brian M Stableford (1975). Frank Kelly Freas drapes the stars over everything - quite lovely.
DAW book covers #Top20: The Year's Best Horror Stories: Series lll, edited by Richard Davis (1975). Michael Whelan's creepy eye-hand!
DAW book covers #Top20: Don't Bite The Sun, by Tanith Lee (1976). Brian Froud's artwork is spot-on for this book.
DAW book covers #Top20: The Sailor On The Seas Of Fate, by Michael Moorcock (1976). Michael Whelan's very buff Elric!
DAW book covers #Top20: Legends From The End Of Time, by Michael Moorcock (1977). I really like Bob Pepper's collage-style cover here.
DAW book covers #Top20: The Siege Of Wonder, by Mark S Geston (1977). H R Van Dongen brings a touch of Northern Renaissance to this cover.
DAW book covers #Top20: Calling Dr Patchwork, by Ron Goulart (1978). Josh Kirby's cover is simple, silly and very charming.
DAW book covers #Top20: To Keep The Ship, by A Bertram Chandler (1978). Another marvellous silly #SF cover, this time by H R Van Dongen.
DAW book covers #Top20: The Palace Of Love, by Jack Vance (1979). Gino D'Achille showing he doesn't know how bikini tops work!
DAW book covers #Top20: Lord Of The Spiders or Blades Of Mars, by Michael Moorcock (1979). Richard Hescox's spider is very creepy!
DAW book covers #Top20: Kill The Dead, by Tanith Lee (1980). Don Maitz's cover is well balanced with just the right hint of goth.
DAW book covers #Top20: Lin Carter Presents The Year's Best Fantasy Stories: 6 (1980). A very simple but fun cover by Josh Kirby.
DAW book covers #Top20: Marune: Alastor 933, by Jack Vance (1981). David B Mattingly has great fun with the composition here.
DAW book covers #Top20: The Robot In The Closet, by Ron Goulart (1981). I love Josh Kirby's bulging eyed robo-pirate!
DAW book covers #Top20: The Dimensioneers, by Doris Piserchia (1982). Frank Kelly Freas returns to DAW with an elegant cloud cover.
DAW book covers #Top20: Karl Edward Wagner presents The Year's Best Horror Stories: Series X (1982). Michael Whelan steals the show again...
And that's it for my #Top20 DAW book covers ('72-'82). I hope you saw something you liked!
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He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
Today in pulp I look back at New Zealand's home-grow microcomputer, the 1981 Poly-1!
Press any key to continue...
The Poly-1 was developed in 1980 by two electronics engineering teachers at Wellington Polytechnic, Neil Scott and Paul Bryant, who wanted to create a computer for use in New Zealand schools. Education Minister Merv Wellington liked the idea and gave it the green light.
Backed by government finances, and in partnership with Progeni Computers, Polycorp was formed in 1980 to began work on the prototype for the official Kiwi school computer.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.