Windy City Pulp & Paper Convention

Mar 23, 2020 by

The Windy City Pulp and Paper Convention 20 commemorates twenty years of pulp con excellence as it returns to the Westin Lombard Yorktown Center from September 11 to 13 this year. The convention doors open at 11:00 AM on Friday, but Early Bird Shoppers can get in 90 minutes early starting at 9:30 AM. The con suite will be open from 8:00 PM on Thursday, September 10, until midnight. The convention runs until 3:00 PM on Sunday.

This year’s show marks the centennial of BLACK MASK, the pulp that came to define the hardboiled detective and crime story genre, as well as the 90th anniversary of ASTOUNDING, Street & Smith’s pulp predecessor to today’s ANALOG SCIENCE FICTION AND FACT digest.

Additionally, there’s the annual Windy City Film Festival, organized and emceed by the one and only Ed Hulse of Murania Press. The Friday and Saturday night auctions will feature the collections of the Robert Weinberg Estate and the Glenn Lord Estate. The annual art show, panels, and New Pulp Sunday are also on the schedule.

Click on the link that starts our post to learn more about this year’s Windy City Pulp and Paper Convention or visit the convention’s Facebook page.

You don’t have to wait until September to discover pulp treasures. This year, Windy follows PulpFest 2020, “Summer’s AMAZING Pulp Con.” PulpFest 2020 will begin Thursday evening, August 6, and run through Sunday afternoon, August 9. It will take place just outside of Pittsburgh, Pennsylvania at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry. It’s easy to register, just click the register button below the PulpFest homepage banner.

(In conjunction with their host hotel, The Westin Lombard, the organizers of Windy City 20 have rescheduled their convention to early September to help assure the safety of its members. Please watch the Windy City homepage or Facebook site for additional announcements.

The revised Windy City Pulp & Paper Convention 20 promotional flyer was adapted from Fred Craft‘s front cover art for the December 1927 issue of BLACK MASK. From 1927 to 1936, Craft sold freelance artwork to pulp magazines, primarily to western and detective pulps. He is best remembered today for his extensive cover work for BLACK MASK, the magazine that PulpFest will be celebrating in August.)

Margaret Brundage

Dec 9, 2019 by

No one defined the look of WEIRD TALES like pulp’s premier cover artist Margaret Brundage. The talented woman who dressed (and undressed) countless Seabury Quinn, Robert E. Howard, Jack Williamson, Edmond Hamilton, and Manly Wade Wellman characters was born December 9, 1900 into a devout Christian Science household in Chicago. Her parents were Swedish and Irish immigrants from Scotland.

Editor of her high school newspaper where classmate Walt Disney was a cartoonist, Margaret graduated to become a fashion designer. She supplemented her income with newspaper illustrations and by decorating speakeasies during Prohibition. It was in the latter pursuit that she met and married speakeasy bouncer and janitor Slim Brundage. Her new husband was an alcoholic womanizer, self-professed hobo, and avowed leftist who was born in an insane asylum.

Sadly, as a husband Slim was not a consistent breadwinner. He founded the College of Complexes in 1933, but it closed three months later. He became director of the Hobo College in 1936. His commitment to radical communism led to continuous trouble with authorities and even periods of incarceration.

Forced to support herself, their young son, and her sickly mother, Margaret found work as a cover artist for WEIRD TALES, ORIENTAL STORIES, and MAGIC CARPET. Editor Farnsworth Wright paid her $90 per cover painting. She provided cover art for 66 issues of WEIRD TALES between 1932 and 1945, making her the most in-demand cover artist for the magazine. Only Virgil Finlay was a close rival.

Margaret initially disguised her gender by signing her work as M. Brundage. She redefined sensuality for the already scandalous pulp market, but later found her work the target of New York Mayor LaGuardia’s 1938 decency campaign. Censorship and Farnsworth Wright’s retirement in 1940 saw a lessening of demand for the talented artist in the pulp market.

In spite of her stormy marriage and demanding career depicting half-naked damsels about to be lashed, life was not all Brundage and Discipline for Margaret. Slim abandoned his wife and their son just as America began climbing out of the Great Depression. He would later cash in his pension and re-open the College of Complexes in 1951. It would become Chicago’s most popular beatnik bistro of the decade.

Margaret’s final pulp cover sale was in 1953, but she continued to paint and exhibited and sold her work at art fairs and science fiction conventions. Clark Ashton Smith was highly critical of her sexually-charged paintings as his contemporaneous correspondence with H. P. Lovecraft and R. H. Barlow proved. A leering Forrest J. Ackerman and the dubious claims of L. Sprague de Camp helped keep her work in vogue during the early years of science fiction fandom. Robert Weinberg’s early scholarship did much to correct erroneous claims that she used models (with de Camp propagating the rumor that a nonexistent daughter posed for her, in various stages of undress). Margaret Brundage died in poverty in 1976. Her work survives and continues to define popular conceptions of pulp fiction, sword & sorcery, and weird fantasy.

Pulp scholar and co-founder of the Windy City Pulp and Paper Convention Doug Ellis will present “The Weird Tales of Margaret Brundage” on Friday evening, August 7 as PulpFest 2020 celebrates the 120th anniversary of the birth of Margaret Brundage, the centennial of Ray Bradbury’s birth, and the 100th anniversary of BLACK MASK. The convention will also feature presentations brimming with Baum, Burroughs, Barsoom, Brackett, B-movies, and more, including the beautiful Eva Lynd. Be sure to join us August 6 – 9 at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, PA.

(Although remembered primarily for her WEIRD TALES covers, Margaret Brundage also painted covers for other Popular Fiction Publishing magazines. She contributed two covers to ORIENTAL STORIES and twice that number to THE MAGIC CARPET MAGAZINE, including the October 1933 number.

In addition to her sixty-six covers for WEIRD TALES, Brundage also contributed two covers to GOLDEN FLEECE, a Sun Publications pulp magazine, also based in Chicago.

For a more detailed look at Margaret Brundage, we urge you to pick up a copy of Stephen D. Korshak’s and J. David Spurlock’s book, THE ALLURING ART OF MARGARET BRUNDAGE. David’s “book within a book” — entitled “The Secret Life of Margaret Brundage” — was largely used for the biographical information found in our post. Prior to David’s detailed revelations, so much of what is now known about Brundage was totally unknown.

THE ALLURING ART OF MARGARET BRUNDAGE is available through Amazon and other booksellers. You can also get it direct from the publisher — Vanguard Publications — by visiting

The Last Martian

Sep 26, 2016 by

bobweinbergOne of the last of the dinosaurs who attended the first PulpconRobert Weinberg — passed away on September 25. A lover of pulps and science fiction to the very end, Bob was seventy years old.

An editor, publisher, bookseller and creator of fanzines — including PULP — Bob was one of the first publishers to concentrate on magazine stories from the pulps. In today’s print-on-demand world, we’ve seen an explosion of small presses releasing pulp reprints like never before. Back in the 1970s — years before digitalized text — Weinberg published several series that reprinted pulp fiction: INCREDIBLE ADVENTURES, LOST FANTASIES, PULP CLASSICS, and WEIRD MENACE.

In addition to his work in reprint fiction, Bob was an extremely active indexer. Beginning with AN INDEX TO ANALOG in 1965, Weinberg compiled bibliographies of the work of Robert E. Howard, the Cthulhu Mythos, the hero pulps, and more. His A BIOGRAPHICAL DICTIONARY OF SCIENCE FICTION AND FANTASY ARTISTS — published by Greenwood in 1988 — is one of the leading works on the art of the fantastic.

The winner of the 1983 Lamont Award, Robert Weinberg joined Martin H. Greenberg as editor of LOVECRAFT’S LEGACY and with Greenberg, Stefan R. Dziemianowicz, and others edited WEIRD TALES: 32 UNEARTHED TERRORS, FAMOUS FANTASTIC MYSTERIES: 30 GREAT TALES OF FANTASY AND HORROR, HARD-BOILED DETECTIVES: 23 GREAT STORIES FROM DIME DETECTIVE MAGAZINE, and many other anthologies.

Beginning with “Destroyer,” a short story featured in the May 1969 issue of WORLDS OF IF, Weinberg began publishing genre fiction. Although his contributions to the world of fiction were rather infrequent during the seventies and most of the eighties, he increasingly turned to fiction writing with works such as THE DEVIL’S AUCTION, THE ARMAGEDDON BOX, and THE BLACK LODGE.

We bid adieu to this longtime science fiction and fantasy fan, author, editor, publisher, bookseller, fanzine creator, and pulp fan — known to his wife and son as “Our favorite Martian.”

(The late Jon Arfstrom‘s portrait of Robert Weinberg. Mr. Arfstrom was a guest at PulpFest 2015. The last of the WEIRD TALES artists, Mr. Arfstrom passed away on December 2, 2015.)

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