Download A Pictorial History of Horror Stories by Peter Haining PDF

By Peter Haining

A PICTORIAL background OF HORROR tales:
Two Hundred Years of Illustrations from the Pulp Magazines

This ebook is largely a page-for-page reprint of Haining's previous booklet entitled "Terror: A background of Horror Illustrations from Pulp Magazines." there's no new fabric. the single distinction is it's a hardback with assorted disguise paintings. whereas it's rather 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 incredible shortcoming -- lots of the luridly colourful pulp journal conceal photos are reproduced in B&W. That makes for a really monotonous learn. nowadays, more recent books in regards to the pulps constantly reproduce the covers in wonderful colour. Why they didn't see healthy to do this within the '70s and and '80s is a secret and a disgrace. anyone must revisit the topic of horror pulps and do it right.

4to, smooth illus bds with lurid photo of monster attacking a snoozing lady, 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 forth. those illustrations are consistently fascinating.

A banquet of nightmares in photographs, rescued from the crumbling pages of lengthy useless periodicals. levels over two hundred years of gory, ghoulish and terrifying from the 1st Gothic engravings of Mary Shelley's Frankenstein to that wealthy and sundry treasure condominium of horror illustrations

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The magazine's most popular writer. This honour fell to Seabury Quinn. appropriately the editor of the trade journal for morticians. Casket & Sunnyside. and the creator of the Sherlock Holmes-like detective Jules de Grandin Weird Tales also promoted the exceedingly strange stories of Clark Ashton Smith; Henry S. Whitehead's tales of secret rites in the West Indies; Robert Bloch. first the protege of Lovecraft and now an original in his own right; August Derleth who. after Lovecraft's death. did much to establish his international fame; and Robert E.

Ofa fanl",,';e ",ad�t�(Un or .. bloody haul.. �lol�" "'(''''a' niz � Who ,,-u ,hi. lau.. lbiu"lI fi�lIr.. "10",,.. �I.. " 10 tlimon' that of lIill". rrully lold br H�;�(�;:�'�;��lt�;rtn in th.. : ARGOSY NOW ON SAUAT ALL NlW$$TANDS The 'pulp era' spanned two world wars, and this was reflected in the pages of the magazines. There were, of course. a whole range of publications devoted entirely to war, but the horror in them was real rather than fantasy, and their number is such that they almost warrant a book of their own 1 Suffice it to record here that quite a number of macabre stories with war settings were published in the horror and fantasy pulps, and these illustrations are typical of many more.

And by doing this, the publisher could keep his cover prices down to a minimum and cater for the public demand that was always there-though restricted in its buying power by low wages and depression. It was, in a way, only a variation on the idea of those original Gothic chapbook publishers, but following the appearance of Munsey's pioneer 'pulp' Argosy in 1896 (still flourishing though in a different format today), the idea was to be given unprecedented acceptance to the tune of over three hundred titles in the next half­ century and countless million sales These magazines, printed on rough wood pulp paper, measuring seven inches by ten, and about half an inch thick, were to embrace literally every topic of interest.

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