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84-674: Adventure was an American pulp magazine that was first published in November 1910 by the Ridgway company, a subsidiary of the Butterick Publishing Company . Adventure went on to become one of the most profitable and critically acclaimed of all the American pulp magazines. The magazine had 881 issues. Its first editor was Trumbull White. He was succeeded in 1912 by Arthur Sullivant Hoffman (1876–1966), who edited

168-414: A continuation of his Hugo Award-winning ERB-dom which began in 1960. It ran for 75 issues and featured articles about the content and selected fiction from the pulps. It became Pulpdom Online in 2013 and continues quarterly publication. After 2000, several small independent publishers released magazines which published short fiction, either short stories or novel-length presentations, in the tradition of

252-424: A few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers , machines or typists . Before he became

336-463: A heart attack in 1971, the New York Times published an extensive front-page obituary that commenced: "At various (and frequently simultaneous) periods of his long life the protean Rockwell Kent was an architect, painter, illustrator, lithographer, xylographer, cartoonist, advertising artist, carpenter, dairy farmer, explorer, trade union leader and political controversialist. "He is so multiple

420-486: A height of 300,000 copies per month. By 1924, Adventure was regarded, in the words of Richard Bleiler , as "without question the most important 'pulp' magazine in the world." In 1926, the Butterick company decided to print Adventure on slick paper instead of wood-pulp paper. They also changed the magazine's covers to a text listing of contents. Both of these decisions were done in the hope of winning over readers of

504-488: A magazine called Pulp Adventures reprinting old classics. It came out regularly until 2001, and then started up again in 2014. In 1994, Quentin Tarantino directed the film Pulp Fiction . The working title of the film was Black Mask , in homage to the pulp magazine of that name , and it embodied the seedy, violent, often crime-related spirit found in pulp magazines. In 1997 C. Cazadessus Jr. launched Pulpdom ,

588-435: A novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors

672-583: A number of Camp-Fire Stations – locations where other readers of Adventure could meet up – were established. Robert Kenneth Jones notes that Adventure readers "often wrote in to report on meeting new friends through these stations." By 1924, there were Camp-Fire Stations established across the US and in several other countries, including Britain , Australia , Egypt and Cuba . Adventure also offered Camp-Fire buttons which readers wore. Adventure featured several other notable columns, including: Hoffman encouraged

756-454: A package that provided affordable entertainment to young working-class people. In six years, Argosy went from a few thousand copies per month to over half a million. Street & Smith , a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy ' s success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages (the interior sides of

840-510: A person as to be multifarious," Louis Untermeyer, the poet, once observed." When an anthology of Kent's work was published in 1982, a reviewer of the book for the New York Times further described Kent as "... a thoughtful, troublesome, profoundly independent, odd and kind man who made an imperishable contribution to the art of bookmaking in the United States." Retrospectives of the artist's paintings and drawings have been mounted, by

924-528: A polemical statement in the painting, apparently a message from the indigenous people of Alaska to the Puerto Ricans, in support of decolonization. As translated, the communication read "To the peoples of Puerto Rico, our friends: Go ahead, let us change chiefs. That alone can make us equal and free". The incident caused some consternation. Kent's patriotism never waned in spite of his often critical views of American foreign policy and his impatience with

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1008-503: A rescuing hero . Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N. C. Wyeth , and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories . Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as

1092-670: A similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated. During the Second World War , paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Following the model of Ellery Queen's Mystery Magazine in 1941, some magazines began to switch to digest size : smaller, sometimes thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks . Competition from comic-books and paperback novels further eroded

1176-595: A source of inspiration for the next five years. His first series of paintings of Monhegan were shown to wide critical acclaim in 1907 at Clausen Galleries in New York. These works form the foundation of his lasting reputation as an early American modernist , and can be seen in museums across the country, including the Metropolitan Museum of Art , Seattle Art Museum , New Britain Museum of American Art , and

1260-488: A special issue to celebrate Adventure's 25th anniversary. This issue featured reminiscences of the magazine's history by Arthur Sullivant Hoffman. The issue also featured reprints of popular Adventure stories by Mundy, Friel, Tuttle and Georges Surdez . The anniversary of the magazine was covered in the media, with Time magazine praising Adventure as being "the No. 1 'pulp ' " and Newsweek lauding Adventure as "Dean of

1344-693: A well-received exhibition of his work in five Soviet museums – Pushkin State Museum of Fine Arts, the State Hermitage Museum, Kiev Museum of Western and Eastern Art, Odessa Museum of Western and Eastern Art and State Museum of Fine Arts, Riga – in 1957–58, he donated several hundred of his paintings and drawings to the Soviet peoples in 1960 (as catalogued in "Rockwell Kent's Forgotten Landscapes": Scott R Ferris and Ellen Pearce. Down East Books. 1998). He subsequently became an honorary member of

1428-521: Is a collection of "pulp fiction" stories written by such current well-known authors as Stephen King , Nick Hornby , Aimee Bender and Dave Eggers . Explaining his vision for the project, Chabon wrote in the introduction, "I think that we have forgotten how much fun reading a short story can be, and I hope that if nothing else, this treasury goes some small distance toward reminding us of that lost but fundamental truth." The Scottish publisher DC Thomson publishes "My Weekly Compact Novel" every week. It

1512-674: Is fictionally recalled by Canadian writer Michael Winter in The Big Why , his 2004 Winterset Award-winning novel. Kent's work also figures in Steve Martin's 2010 novel An Object of Beauty and is the subject of a chapter in Douglas Brinkley 's 2011 history The Quiet World: Saving Alaska's Wilderness Kingdom: 1879–1960 . Columbia University is the repository of Rockwell Kent's personal collection of 3,300 working drawings and sketches, most of which were unpublished. The gift

1596-520: Is literally a pulp novel, though it does not fall into the hard-edged genre most associated with pulp fiction. From 2006 through 2019, Anthony Tollin's imprint Sanctum Books has reprinted all 182 Doc Savage pulp novels, all 24 of Paul Ernst's Avenger novels, the 14 Whisperer novels from the original pulp series and all but three novels of the entire run of The Shadow (most of his publications featuring two novels in one book). Rockwell Kent Rockwell Kent (June 21, 1882 – March 13, 1971)

1680-590: The Fine Arts Museums of San Francisco . Among those critics lauding Kent was James Huneker of the Sun , who praised Kent's athletic brushwork and daring color dissonances. (It was Huneker who deemed the paintings of The Eight as "decidedly reactionary".) In 1910, Kent helped organize the Exhibition of Independent Artists, and in 1911, together with Arthur B. Davies he organized An Independent Exhibition of

1764-527: The Nobel Prize in Literature , worked as an editor for Adventure , writing filler paragraphs (brief facts or amusing anecdotes designed to fill small gaps in page layout), advertising copy and a few stories. The term pulp fiction is often used for massmarket paperbacks since the 1950s. The Browne Popular Culture Library News noted: Many of the paperback houses that contributed to the decline of

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1848-448: The wood pulp paper on which the magazines were printed, due to their cheap nature. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges. Pulps were the successors to the penny dreadfuls , dime novels , and short-fiction magazines of

1932-405: The "slick" magazines, such as The Atlantic and Harper's Magazine . However, the magazine's style of fiction did not change, and the new Adventure failed to win over "slick" magazine readers, instead suffering a twenty percent fall in circulation. Hoffman, unhappy with the change of format, left the magazine in 1927. After Hoffman's departure, his successors usually followed the template for

2016-471: The 100th anniversary of Kent's Alaskan painting expedition, his stay on Fox Island, and the publication of Wilderness: A Journal of Quiet Adventure in Alaska . The letters he wrote and received during that time reveal a less than quiet experience beneath his book's narrative. Personal correspondence with his wife, Kathleen, and with Hildegarde Hirsch, his inamorata of that time, provide a fascinating glimpse into

2100-578: The 1900s and 1910s as an architectural renderer and carpenter. At Columbia, Kent befriended future curator Carl Zigrosser , who became his close friend, supporter, and collaborator. Kent's early paintings of Mount Monadnock and New Hampshire were first shown at the Society of American Artists in New York in 1904, when Dublin Pond was purchased by Smith College . In 1905 Kent ventured to Monhegan Island , Maine, and found its rugged and primordial beauty

2184-692: The 1920s–1940s, the most successful pulps sold up to one million copies per issue. In 1934, Frank Gruber said there were some 150 pulp titles. The most successful pulp magazines were Argosy , Adventure , Blue Book and Short Stories , collectively described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories , Black Mask , Dime Detective , Flying Aces , Horror Stories , Love Story Magazine , Marvel Tales , Oriental Stories , Planet Stories , Spicy Detective , Startling Stories , Thrilling Wonder Stories , Unknown , Weird Tales and Western Story Magazine . During

2268-682: The 1940s was Kenneth S. White , the son of the magazine's first editor Trumbull White. In April 1953, the pulp changed its format to that of a men's adventure magazine that lasted until the magazine folded in 1971. This final incarnation of Adventure tends not to be highly regarded among magazine historians, with Robert Weinberg referring to it as "a rather mundane slick magazine" and Richard Bleiler stating that by 1960 Adventure had become "a dying embarrassment, printing grainy black and white photos of semi-nude women". Nevertheless, this version of Adventure did sometimes publish fiction by noted authors, including Arthur C. Clarke (" Armaments Race ", in

2352-535: The 1950s. Pulp magazines often contained a wide variety of genre fiction , including, but not limited to: The American Old West was a mainstay genre of early turn of the 20th-century novels as well as later pulp magazines, and lasted longest of all the traditional pulps. In many ways, the later men's adventure ("the sweats") was the replacement of pulps. Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales , Amazing Stories , and Black Mask . While

2436-585: The 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative , and sensational subject matter, even though this was but a small part of what existed in the pulps. Digest magazines and men's adventure magazines were also regarded as pulps. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as Flash Gordon , The Shadow , Doc Savage , and The Phantom Detective . The pulps gave rise to

2520-527: The Amazon Queen by E.A. Guest, their first contribution to a "New Pulp Era", featuring the hallmarks of pulp fiction for contemporary mature readers: violence, horror and sex. E.A. Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen King by real-life explorer David Hatcher Childress. In 2002, the tenth issue of McSweeney's Quarterly was guest edited by Michael Chabon . Published as McSweeney's Mammoth Treasury of Thrilling Tales , it

2604-593: The April 1954 issue) and Norman Mailer (" The Paper House " in the December 1958 issue). The final four issues restored the fiction emphasis in a digest format, but that incarnation also folded. General anthologies from Adventure : Single author/team collections from Adventure : Pulp magazine Pulp magazines (also referred to as " the pulps ") were inexpensive fiction magazines that were published from 1896 until around 1955. The term "pulp" derives from

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2688-597: The Arctic Circle in a tiny fishing settlement called Igdlorssuit (or Illorsuit), where he conceived some of the largest and most celebrated paintings of his career. His cross-cultural encounters in Greenland included Leni Riefenstahl, the famed German filmmaker/actor, who was briefly in Illorsuit with the film crew of S.O.S. Iceberg . Kent's own movie-making aspirations, including a quasi-documentary film featuring

2772-711: The Art Gallery of Newfoundland and Labrador in St. John's, Newfoundland , where the exhibition Pointed North: Rockwell Kent in Newfoundland and Labrador was curated by Caroline Stone in the summer of 2014. Other exhibitions include an exhibition in 2013 in Winona, Minnesota marking the centennial of Kent's time there; the Richard F. Brush Art Gallery and Owen D. Young Library at St. Lawrence University (Canton, New York) in

2856-823: The Art Students League in the fall of 1900, and he studied painting with William Merritt Chase each of the three summers between 1900 and 1902 at the Shinnecock Hills Summer School of Art , after which he entered in the fall of 1902 Robert Henri 's class at the New York School of Art , which Chase had founded. During the summer of 1903, in Dublin, New Hampshire , Kent was apprenticed to painter and naturalist Abbott Handerson Thayer . An undergraduate background in architecture at Columbia University prepared Kent for occasional work in

2940-538: The Cape Playhouse and Cinema in Dennis, Massachusetts , contracted with Rockwell Kent for the design of murals for the cinema—including an extraordinarily expansive mural for the ceiling. The work of transferring and painting the designs on the 6,400-square-foot (590 m ) span was done by Kent's collaborator Jo Mielziner (1901–1976) and a crew of stage set painters from New York City. Ostensibly staying away from

3024-584: The Inuit, are explored in Rockwell Kent and Hollywood (Jake Milgram Wien, 2002), cited below. Many of Kent's historic photographs and hand-tinted lantern slides are reproduced for the first time in North by Nuuk: Greenland after Rockwell Kent (Denis Defibaugh, 2019), also cited below. As World War II approached, Kent shifted his artistic agenda, becoming increasingly active in progressive politics. In 1937,

3108-574: The Paintings and Drawings of Twelve Men, referred to as "The Twelve" and "Kent's Tent". Painters Marsden Hartley , John Marin , and Max Weber (but not John Sloan, Robert Henri, or George Bellows) participated in the 1911 exhibition. Kent was away in Winona, Minnesota, on an architectural assignment when the historic Armory Show took place in Manhattan in 1913. A transcendentalist and mystic in

3192-773: The Section of Painting and Sculpture of the U.S. Treasury commissioned Kent, along with nine other artists, to paint two murals in the New Post Office building at the Federal Triangle in Washington, DC; the two murals are named "Mail Service in the Arctic" and "Mail Service in the Tropics" to celebrate the reach of domestic airborne postal service. Kent included (in an Alaska Native language and in tiny letters)

3276-642: The Soviet Academy of Fine Arts and in 1967 the recipient of the International Lenin Peace Prize . Kent specified that his prize money be given to the women and children of Vietnam , both North and South . (The nature of Kent's gift is clarified by his wife Sally in the 2005 documentary Rockwell Kent , produced and written by Fred Lewis.) Rockwell Kent traveled to the Soviet Union and found like-minded people there. In

3360-572: The Symbolist spirit evoking the mysteries and cosmic wonders of the natural world. "I don't want petty self-expression", Kent wrote, "I want the elemental, infinite thing; I want to paint the rhythm of eternity." In the late summer of 1918, Kent and his nine-year-old son ventured to the American frontier of Alaska . Wilderness (1920), the first of Kent's several adventure memoirs, is an edited and illustrated compilation of his letters home. The New Statesman (London) described Wilderness as "easily

3444-561: The War Department when the United States entered World War I , the information being eventually used to create two regiments of aviation mechanics. Hoffman's group would later provide a model for the organization of the American Legion after the war. Adventure's letters page, "The Camp-Fire" featured Hoffman's editorials, background by the authors to their stories and discussions by the readers. At Hoffman's suggestion,

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3528-653: The annual pulp magazine convention that had begun in 1972. The magazine, devoted to the history and legacy of the pulp magazines, has published each year since. It now appears in connection with PulpFest , the summer pulp convention that grew out of and replaced Pulpcon. The Pulpster was originally edited by Tony Davis and is currently edited by William Lampkin, who also runs the website ThePulp.Net. Contributors have included Don Hutchison, Robert Sampson, Will Murray , Al Tonik, Nick Carr, Mike Resnick , Hugh B. Cave , Joseph Wrzos, Jessica Amanda Salmonson , Chet Williamson , and many others. In 1992, Rich W. Harvey came out with

3612-428: The art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas. Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted

3696-518: The authors featured on the interior pages. Among the most famous pulp artists were Walter M. Baumhofer , Earle K. Bergey , Margaret Brundage , Edd Cartier , Virgil Finlay , Frank R. Paul , Norman Saunders , Emmett Watson , Nick Eggenhofer , (who specialized in Western illustrations), Hugh J. Ward , George Rozen , and Rudolph Belarski . Covers were important enough to sales that sometimes they would be designed first; authors would then be shown

3780-735: The autumn of 2012; the Farnsworth Art Museum (Rockland, Maine) during the spring through autumn of 2012; the Bennington Museum in Vermont during the summer of 2012; the Philadelphia Museum of Art in the spring through summer of 2012; and the Portland Museum of Art, Maine for the major summer show of 2005 commemorating the centenary of Kent's arrival on Monhegan Island. 2018 through 2020 marked

3864-447: The backstory of his life. A more detailed account can be found at the blog Rockwell Kent "Wilderness" Centennial Journal . One of Kent's exemplary pen-and-ink drawings from Moby Dick appears on a U.S. postage stamp issued as part of the 2001 commemorative panel celebrating American Illustration, with other artistic examples by Maxfield Parrish , Frederic Remington , and Norman Rockwell . The year he spent in Newfoundland in 1914-1915

3948-581: The ban a violation of his civil rights. Meanwhile, Kent also came under attack as an officer of the International Workers Order , a mutual benefit and cultural society supported by leftists and immigrants. In 1951, Kent defended his record in court proceedings and exposed the perjured testimony that claimed he was a Communist. From 1957 to 1971, Kent was president of the National Council of American-Soviet Friendship. After

4032-537: The best option for extending the legacy of the New Deal. In the changing postwar context, Kent advocated nuclear disarmament and continued friendship with America's wartime ally, the Soviet Union. This placed him on the wrong side of American Cold War policies. The Soviet Union extensively promoted Kent's work, who was among hundreds of other prominent intellectuals and creative artists targeted by those in league with Joseph McCarthy , but he and William Gropper share

4116-487: The cover art and asked to write a story to match. Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was by crosshatching or pointillism , and even that had to be limited and coarse. Usually

4200-426: The cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy . Street and Smith's next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such as detective stories, romance, etc. At their peak of popularity in

4284-478: The details of his writers' fiction to be as factually accurate as possible-mistakes would frequently be pointed out and criticized by the magazine's readers. In addition, Adventure under Hoffman also showcased the work of several famous artists, including Rockwell Kent , John R. Neill (who illustrated several Harold Lamb stories), Charles Livingston Bull , H.C. Murphy and Edgar Franklin Wittmack . Under Hoffman's editorship, Adventure 's circulation reached

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4368-448: The direct precursors of pulp fiction. The first "pulp" was Frank Munsey 's revamped Argosy magazine of 1896, with about 135,000 words (192 pages) per issue, on pulp paper with untrimmed edges, and no illustrations, even on the cover. The steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels; prior to Munsey, however, no one had combined cheap printing, cheap paper and cheap authors in

4452-703: The distinction of being the only graphic artists to be targeted. Kent was not a Communist and considered his political views to be in the best traditions of American democracy. However, his participation in the Stockholm Appeal and the World Peace Council led to the suspension of his passport in 1950. After he filed suit to regain his foreign-travel rights, in June 1958, the U.S. Supreme Court in Kent v. Dulles affirmed his right to travel by declaring

4536-748: The economic hardships of the Great Depression , pulps provided affordable content to the masses, and were one of the primary forms of entertainment, along with film and radio . Although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II . Notable UK pulps included The Pall Mall Magazine , The Novel Magazine , Cassell's Magazine , The Story-Teller , The Sovereign Magazine , Hutchinson's Adventure-Story and Hutchinson's Mystery-Story . The German fantasy magazine Der Orchideengarten had

4620-466: The end of the "pulp era"; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow , Doc Savage , and Weird Tales , were defunct (though some of those titles have been revived in various formats in the decades since). Almost all of the few remaining former pulp magazines are science fiction or mystery magazines, now in formats similar to " digest size ", such as Analog Science Fiction and Fact , though

4704-803: The fore in the latter part of the 1930s, when he took part in several initiatives of the cultural popular front, including support for the Spanish Republic and the subsequent war against fascism. Most notably, he participated in the American Artists' Congress at the time of its formation in 1936 and later served as an officer of the Artists' Union of America and then the Artists' League of America in their efforts to represent artists to boards, museums and dealers. In 1948 he stood for Congress as an American Labor Party candidate supporting Henry Wallace 's Progressive Party presidential campaign as

4788-570: The front and back cover) longer than Argosy . Due to differences in page layout however, the magazine had substantially less text than Argosy . The Popular Magazine did introduce color covers to pulp publishing, and the magazine began to take off when in 1905 the publishers acquired the rights to serialize Ayesha (1905), by H. Rider Haggard , a sequel to his popular novel She (1887). Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs , Robert E. Howard , Talbot Mundy and Abraham Merritt . In 1907,

4872-971: The genre–Ace, Dell, Avon, among others–were actually started by pulp magazine publishers. They had the presses, the expertise, and the newsstand distribution networks which made the success of the mass-market paperback possible. These pulp-oriented paperback houses mined the old magazines for reprints. This kept pulp literature, if not pulp magazines, alive. The Return of the Continental Op reprints material first published in Black Mask ; Five Sinister Characters contains stories first published in Dime Detective ; and The Pocket Book of Science Fiction collects material from Thrilling Wonder Stories , Astounding Science Fiction and Amazing Stories . But note that mass market paperbacks are not pulps. In 1991, The Pulpster debuted at that year's Pulpcon ,

4956-687: The important role immigrants play in constructing American national identity. In 1948, Kent was elected to the National Academy of Design as an Associate member, and in 1966 he became a full Academician. Kent passed away at his home in the Adirondacks in 1971. Although he came from a relatively privileged background, Kent formed radical political views early in life, joining the Socialist Party of America in 1904. He cast his first presidential vote for Eugene Debs that year, and for

5040-475: The ink drawings and reverse paintings on glass. Kent frequently crossed into the realm of illustration in the 1920s and contributed drawings for reproduction on the covers of many leading magazines. For example, Kent's pen, brush, and ink drawings were reproduced on the covers of the pulp magazine Adventure in 1927, leading Time magazine to say that "if it were distinguished for nothing else, Adventure would stand apart from rival 'pulps'   ... because it

5124-515: The magazine that he had set down. In 1934, Adventure was bought by Popular Publications . Throughout the 1930s, Adventure included fiction by Erle Stanley Gardner , Donald Barr Chidsey , Raymond S. Spears , Major Malcolm Wheeler-Nicholson , Luke Short , and Major George Fielding Eliot . Adventure continued to publish factual pieces by noted figures, including future film producer Val Lewton and Venezuelan military writer Rafael de Nogales . In November 1935, editor Howard Bloomfield assembled

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5208-1258: The magazine until 1927. In its first decade, Adventure carried fiction from such notable writers as Rider Haggard , Rafael Sabatini , Gouverneur Morris , Baroness Orczy , Damon Runyon and William Hope Hodgson . Subsequently, the magazine cultivated its own group of authors (who Hoffman dubbed his "Writers' Brigade"). Each member of the "Writer's Brigade" had his or her own particular fictional bailiwicks. These included Talbot Mundy (colonial India and ancient Rome), T.S. Stribling (detective stories), Arthur O. Friel (South America), brothers Patrick and Terence Casey (" hobo " stories), J. Allan Dunn (the South Seas), Harold Lamb (medieval Europe and Asia), Hapsburg Liebe (Westerns), Gordon Young (South Pacific stories and urban thrillers), Arthur D. Howden Smith (Viking era and US history), H. Bedford-Jones (historical warfare), W.C. Tuttle (humorous Westerns), Gordon MacCreagh (Burma and East Africa), Henry S. Whitehead (the Virgin Islands), Hugh Pendexter (US history), Robert J. Pearsall (China), and L. Patrick Greene (Southern Africa). In 1912, Hoffman and his assistant,

5292-682: The majority of pulp magazines were anthology titles featuring many different authors, characters and settings, some of the most enduring magazines were those that featured a single recurring character. These were often referred to as "hero pulps" because the recurring character was almost always a larger-than-life hero in the mold of Doc Savage or The Shadow . Popular pulp characters that headlined in their own magazines: Popular pulp characters who appeared in anthology titles such as All-Story or Weird Tales : Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress , usually awaiting

5376-598: The most durable revival of Weird Tales began in pulp format, though published on good-quality paper. The old format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan (over 3,000 issues as of 2019). Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly. While

5460-519: The most popular titles were monthly, many were bimonthly and some were quarterly. The collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers trying to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces. Some ex-pulp writers like Hugh B. Cave and Robert Leslie Bellem had moved on to writing for television by

5544-680: The most remarkable book to come out of America since Leaves of Grass was published." Upon the artist's return to New York in March 1919, publishing scion George Palmer Putnam and others, including Juliana Force—assistant to Gertrude Vanderbilt Whitney—incorporated the artist as "Rockwell Kent, Inc." to support him in his new Vermont homestead while he completed his paintings from Alaska for exhibition in 1920 at Knoedler Galleries in New York. Kent's small oil-on-wood-panel sketches from Alaska—uniformly horizontal studies of light and color—were exhibited at Knoedler's as "Impressions." Their artistic lineage to

5628-599: The novelist Sinclair Lewis created a popular identity card with a serial number for readers. If the bearer were killed, someone finding the card would notify the magazine who would in turn notify the next of kin of the hapless adventurer . The popularity of the card amongst travelers led to the formation of the Adventurers' Club of New York . The original New York club led to similar clubs in Chicago (1913), Los Angeles (1921), Copenhagen (1937) and Honolulu (1955). In 1915

5712-592: The original Life . He also brought his Hogarth Jr., style to a series of richly colored reverse paintings on glass that he completed in 1918 and exhibited at Wanamaker's Department Store . (Two of these glass paintings are in the collection of the Columbus Museum of Art , part of the bequest of modernist collector Ferdinand Howald .) In Rockwell Kent: The Mythic and the Modern , Jake Milgram Wien devotes an entire chapter to Hogarth Jr. and reproduces several of

5796-561: The preface to the second Russian edition of his book "Salamina", Kent wrote: "Recently… I've met two talented young artists from Kyiv Ada Rybachuk and Volodymyr Melnychenko . They lived and worked in the Soviet Arctic, just like me, they love the North and its inhabitants… Shouldn't art reveal the essence of Humanity? .. We who strive to create a better world for people must know the clay from which we form man." When Kent died of

5880-480: The promises of capitalism. He remained America's premier draftsman of the sea, and during World War II he produced a series of pen/brush and ink maritime drawings for American Export Lines and began another series of pen/brush and ink drawings for Rahr Malting Company which he completed in 1946. The drawings were reproduced in To Thee! , a book Kent also wrote and designed celebrating American freedom and democracy and

5964-409: The publishers attempted to reach women readers with a new title ( Stories of Life, Love, and Adventure ), but it went back to its male readership and original title in 1917. Hoffman also was secretary of an organization named the "Legion" that had Theodore Roosevelt Jr. as one of its vice presidents. Membership cards of the organization included member's skills and specialties that were forwarded to

6048-433: The pulp magazines of the early 20th century. These included Blood 'N Thunder , High Adventure and a short-lived magazine which revived the title Argosy . These specialist publications, printed in limited press runs, were pointedly not printed on the brittle, high-acid wood pulp paper of the old publications and were not mass market publications targeted at a wide audience. In 2004, Lost Continent Library published Secret of

6132-463: The pulps". During the 1940s, the magazine carried numerous fiction and articles concerned with the ongoing Second World War ; writers who contributed to Adventure in this period included E. Hoffmann Price , De Witt Newbury, Jim Kjelgaard and Fredric Brown . Artists on the publication during the 1930s and 1940s included Walter M. Baumhofer , Hubert Rogers, Rafael De Soto, Lawrence Sterne Stevens and Norman Saunders . The magazine's main editor in

6216-539: The pulps' market share, but it has been suggested the widespread expansion of television also drew away the readership of the pulps. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines also began to draw some former pulp readers. The 1957 liquidation of the American News Company , then the primary distributor of pulp magazines, has sometimes been taken as marking

6300-694: The rest of his life was ready to debate socialist ideas on any occasion. His respect for the dignity of labor, acquired through personal experience and the skills of his craft, also made him a strong supporter of unions. He briefly joined the Industrial Workers of the World in 1912 and belonged at various times to unions in the American Federation of Labor and the Congress of Industrial Organizations . Kent's political activism came to

6384-527: The small and spare oil sketches of James Abbott McNeill Whistler (1834–1903), which are often entitled "Arrangements," underscores Kent's admiration of Whistler's genius. Approached in 1926 by publisher R. R. Donnelley to produce an illustrated edition of Richard Henry Dana Jr. 's Two Years Before the Mast , Kent suggested Moby-Dick instead. Published in 1930 by the Lakeside Press of Chicago ,

6468-454: The state of Massachusetts to protest the Sacco and Vanzetti executions of 1927, Kent did in fact venture to Dennis in June 1930 to spend three days on the scaffolding, making suggestions and corrections. The signatures of both Kent and Mielziner appear on opposite walls of the cinema. In 1927, Kent moved to upstate New York where he had acquired an Adirondack farmstead. Asgaard, as he named it,

6552-464: The term pulp fiction in reference to run-of-the-mill, low-quality literature. Successors of pulps include paperback books, such as hardboiled detective stories and erotic fiction . Before pulp magazines, Newgate novels (1840s-1860s) fictionalized the exploits of real-life criminals. Later, British sensation novels gained peak popularity in the 1860s-1870s. Sensation novels focused on shocking stories that reflected modern-day anxieties, and were

6636-433: The three-volume limited edition (1,000 copies) filled with Kent's haunting black-and-white pen/brush and ink drawings sold out immediately; Random House also produced a trade edition. Less well known are Kent's talents as a jazz age humorist. As the pen-and-ink draftsman "Hogarth Jr.," Kent created dozens of whimsical and smartly irreverent drawings published by Vanity Fair , New York Tribune , Harper's Weekly , and

6720-449: The tradition of Thoreau and Emerson , whose works he read, Kent found inspiration in the austerity and stark beauty of wilderness. After Monhegan, he lived for extended periods of time in Winona, Minnesota (1912–1913), Newfoundland (1914–15), Alaska (1918–19), Vermont (1919–1925), Tierra del Fuego (1922–23), Ireland (1926), and Greenland (1929; 1931–32; 1934–35). His series of land and seascapes from these often forbidding locales convey

6804-540: Was an American painter, printmaker , illustrator, writer, sailor, adventurer and voyager. Rockwell Kent was born in Tarrytown, New York . Kent was of English descent . He lived much of his early life in and around New York City, where he attended the Horace Mann School . Kent studied with several influential painters and theorists of his day. He studied composition and design with Arthur Wesley Dow at

6888-502: Was his residence for the remainder of his life, and from his studio there he worked tirelessly on countless painting and drawing assignments. In the summer of 1929, Kent sailed on a painting expedition to Greenland, and his adventures (and misadventures) are recounted in the best-selling N by E (1930). After meeting Danish Arctic explorers Peter Freuchen and Knud Rasmussen on this trip, Kent determined to return to Greenland to paint and write. He spent two years (1931–32 and 1934–35) above

6972-446: Was once entirely illustrated by Rockwell Kent   ..." Decorative work ensued intermittently: in 1939, Vernon Kilns reproduced three series of designs drawn by Kent (Moby Dick, Salamina, Our America) on its sets of contemporary china dinnerware. At the Art Students League in the 1920s or 1930s, Kent met and befriended many artists, including Wilhelmina Weber Furlong and Thomas Furlong . Raymond Moore, founder and impresario of

7056-851: Was that they paid upon acceptance for material instead of on publication. Since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow . Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman ( Adventure ), Robert H. Davis ( All-Story Weekly ), Harry E. Maule ( Short Stories ), Donald Kennicott ( Blue Book ), Joseph Shaw ( Black Mask ), Farnsworth Wright ( Weird Tales , Oriental Stories ), John W. Campbell ( Astounding Science Fiction , Unknown ) and Daisy Bacon ( Love Story Magazine , Detective Story Magazine ). Well-known authors who wrote for pulps include: Sinclair Lewis , first American winner of

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