Happy #NationalWritingDay everybody! Today I'm looking back at that essential item all writers need, love and occasionally bash their heads against: the typewriter!
What? You're still writing in longhand? Tsk...
All pulp authors love a typewriter! Here's Michael Avallone - "The fastest typewriter in the East" - on how to write well quickly...
If you think you don't have time to write, remember this: Ray Bradbury began writing Farenheit 451 on a pay-by-the-hour rental typewriter in the UCLA library.
At his peak pulpwriter Orrie Hitt could write a book every two weeks, bashing them out on a Remington Royal typewriter with a carton of smokes and a bottle of Bourbon for sustinance.
Gruselroman legend Helmut Rellergerd (aka John Sinclair) is still writing stories on his old Olympia typewriter to this day - sometimes one a week!
Typewriter Repair Man! He's the hero we've been looking for...
Olivetti service advert, 1953.
The first novel written on a word processor was Bomber, published by Len Deighton in 1970. Deighton had an 91kg leased IBM MT72 carefully winched into his London home through an upstairs window.
It'll never catch on you know...
If you're not sure how to use a typewriter heres's a guide to the 1954 Olivetti Lettra 22.
Other typewriters are available...
And if you get bored writing... well you can always type a picture of Kojak'a head. Who loves ya baby!
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.
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.
Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel...
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice.
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic?
It was a phenomenon, spawning a franchise that has lasted over fifty years. It's also a story with many surprising influences.
Today in pulp I look back at a sociological science-fiction classic, released today in 1968: Planet Of The Apes!
Pierre Boulle is probably best known for his 1952 novel Bridge On The River Kwai, based on his wartime experiences in Indochina. So it was possibly a surprise when 11 years later he authored a science fiction novel.
However Boulle had been a Free French secret agent during the war. He was captured in 1943 by Vichy forces in Vietnam and sentenced to hard labour. This experience of capture would shape his novel La Planète Des Singes.
Today I'm looking back at the work of British graphic designer Abram Games!
Abram Games was born in Whitechapel, London in 1914. His father, Joseph, was a photographer who taught him the art of colouring by airbrush.
Games attended Hackney Downs School before dropping out of Saint Martin’s School of Art after two terms. His design skills were mainly self-taught by working as his father’s assistant.
Today I'm looking back at the career of English painter, book illustrator and war artist Edward Ardizzone!
Edward Ardizzone was born in Vietnam in 1900 to Anglo-French parents. Aged 5 he moved to England, settling in Suffolk.
Whilst working as an office clerk in London Ardizzone began to take lessons at the Westminster School of Art in his spare time. In 1926 he gave up his office job to concentrate on becoming a professional artist.