Get Your Copy of THE PULPSTER

Sep 16, 2019 by

'The Pulpster' #28 (2019)Copies of THE PULPSTER #28 — the annual PulpFest program book — are available for purchase through Mike Chomko, Books, one of the leading purveyors of pulp-related publications in the field.

Echoing the “Children of the Pulps” portion of our PulpFest 2019 theme, THE PULPSTER takes a look at how characters and fictioneers from the pulpwood paper magazines influenced other characters, television, movies, and more that came after them.

Fronting the magazine is art by Rudolph Belarski from the cover for the September 1939 BLACK BOOK DETECTIVE magazine. It illustrates one aspect of how the pulps influenced the creation of the superhero in comics, with a decidedly Batman-looking Black Bat. That leads into the first of our cover stories.

Will Murray recalls how he and Anthony Tollin pieced together how the creators of Batman lifted elements from THE SHADOW MAGAZINE for their Dark Knight. Will also writes about Johnston McCulley, whom he calls the grandfather of the superhero. Meanwhile, D. Kepler looks at how McCulley’s most famous character — Zorro — on the 100th anniversary of his debut, has been portrayed on screens around the world.

Scott Tracy Griffin surveys how Edgar Rice Burroughs’ Tarzan begat generations of jungle men, women, and children in popular culture.

Three articles examine the pulp magazines’ influence on movies and television: Aaron H. Oliver writes about the 1960s western/spy TV series THE WILD WILD WEST; Jess Terrell looks at the original STAR WARS trilogy; and Sara Light-Waller details how Japanese anime (animated) and tokusatsu (live-action special effects film) drew from the pulps.

THE PULPSTER also celebrates the 100th anniversaries of two pulp magazines: ROMANCE and THE THRILL BOOK. Doug Ellis writes about how ROMANCE struggled for a year with its name and its place in the adventure field, while Richard Bleiler looks at the ambitious oddity that was THE THRILL BOOK.

Then editor emeritus of THE PULPSTER, Tony Davis, writes about Bertrand Sinclair and his nearly 50-year career in the pulps. And THE PULPSTER reprints a letter from fictioneer G. T. Fleming-Roberts in which he reflects on the influence of Sherlock Holmes on his career.

Of course, this issue has the regular departments: “Final Chapters,” by Davis, which notes those of the pulp community who have passed away during the last year; and columns by publisher Michael Chomko and editor Bill Lampkin. And we would be remiss without noting assistant editor Peter Chomko’s help with this issue.

If you’d like to order a copy of THE PULPSTER #28, please write to Mike Chomko at mike@pulpfest.com or 2217 W. Fairview St., Allentown, PA 18104-6542. The cost of the issue is $13, postage paid in the United States. Buyers from outside the United States should inquire about shipping charges, prior to placing an order.

Back issues of THE PULPSTER are also available through Mike Chomko, BooksA limited number of copies of THE PULPSTER #26 and 27 are available. The cost of each is $13, postage paid. Reduced postage is available on orders for multiple books. These prices are good only in the United States. Buyers from outside the United States should inquire about shipping charges, prior to placing an order. All other issues of THE PULPSTER are out of print.

Please note that all issues of THE PULPSTER — included this year’s number — are in very short supply. Order your copies before they are gone!

Mike will accept payments made via check or money order or through Paypal. Please write to him at mike@pulpfest.com or 2217 W. Fairview Street, Allentown, PA 18104-6542 for further instructions.

To learn more about THE PULPSTER, please visit thepulpster.com. For questions about submissions to THE PULPSTER, please write to Bill Lampkin at bill@pulpfest.com. For questions about advertising in THE PULPSTER, please write to Mike Chomko at mike@pulpfest.com.

(The cover art for THE PULPSTER #28 was originally painted by Rudolph Belarski  for the September 1939 BLACK BOOK DETECTIVE, published by Ned Pines’ Standard Magazines.)

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