Pulp Librarian Profile picture
Aug 9, 2021 8 tweets 3 min read Read on X
Happy #NationalBookLoversDay everybody! But are you really a book lover, or just a book flirt?

Luckily I have a handy quiz to help you out... Image
A friend buys you a book 'they know you'll love!' but you already have it. Do you:
a) ask for the receipt
b) accept it, but re-gift it later
c) shout "Woo-Hoo! More books!! MORE BOOKS!!!" Image
In a bookstore you and another customer both want the last copy of the same book. Do you:
a) let them take it
b) toss a coin for it
c) rip out the last page and scream "You'll never have it! NEVER!!!" Image
You see an attractive person in a bookshop browsing the Modern Fiction section do you:
a) admire them from afar
b) strike up a conversation with them about modern fiction
c) secretly admonish the books for looking at someone other than yourself Image
You visit your local public library. How does the librarian greet you?
a) "Hello, can I help you?"
b) "Nice to see you again."
c) "FFS! Do you not know what a COURT ORDER is? Miriam, release the hounds!!" Image
How do you like to arrange your bookshelves?
a) in alphaberical order
b) by genre
c) by priapic response Image
Do you consider yourself:
a) a bibliophobe
b) a bibliophile
c) a bibliobimbo, as your most recent tattoo - "613.96" - confirms Image
So how did you do?
Mostly As: you're a book prude and should stick to watching telly
Mostly Bs: you're a book voyeur at best and probably just like to look at the covers
Mostly Cs: congratulations - you are a book lover and today is your day!

Happy reading... 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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