Pulp Friday: Mad Max books

madmax

To celebrate the release of the fourth instalment of George Miller’s Mad Max franchise, Mad Max: Fury Road, today’s Pulp Friday is the paperback tie-ins for the first three movies.

The first book, Mad Max, was published by Circus Books in 1979. Long out of print, it is now a much sought after collectors item.

The three books below were all published by QB Books in 1985, presumably to coincide with the release of Mad Max: Beyond Thunderdome in 1985.

Interestingly, Terry Kaye’s name does not appear on the 1985 edition of the Mad Max paperback. Austlit credits veteran Australian pulp paperback writer Carl Ruhen as author of Mad Max 2. I don’t know who the author of the third book is.

Enjoy.

Mad Max 1

Mad Max 2 QB books

Mad Max 3 QB books 1985

 

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Sons and daughters of Mad Max: 10 great Australian dystopian road movies

When former doctor turned director George Miller released his first full-length feature film, Mad Max, in 1979, he wasn’t to know he had created what would become one of Australia’s greatest celluloid exports. Mad Max spawned a number of imitators and knockoffs internationally and had a profound impact on the Australian film industry. It resulted in two sequels in the 80s and a third, Mad Max: Fury Road, currently receiving rave reviews internationally.

Australia’s sheer size and relatively concentrated population means much of its cinema has either taken the form of road movies or contains aspects of the road film genre. Australian road movies encompass comedy (The Adventures of Priscilla, Queen of the Desert, 1994), romance (Japanese Story, 2003) and drama (Last Ride, 2009). Unless the characters have money for a plane ticket, any plot that involves leaving a major urban centre is going to necessitate a large amount of road travel.

But Mad Max has origins in and, in turn, profoundly influenced a particular strand of Australian film, which combines dystopian and noir themes with the destructive power of cars and the country’s harsh, sparsely populated land mass. Some of the factors that influenced these films have a resonance beyond Australia, such as masculine car culture and fears of societal breakdown, particularly during the energy crisis in the 70s and early 80s.… Read more

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Book review: American Pulp – How Paperbacks Brought Modernism to Main Street

American Pulp, Princeton University Press 2014

I’ve always been fascinated by how relatively insignificant objects you’ve lost in the course of moving around in life can later come to hold important meaning. An example for me is a black and white photograph of my father on holiday in Queensland’s Surfers Paradise in the early 1960s. It was destroyed when my friend’s shed, in which I stored all my possessions while travelling overseas, burnt down. I find it hard to recall what else was lost, but I remember that photo. Dad is sitting in a chair on the beach, wearing dark sunglasses and reading a paperback by the prolific Australian pulp writer Carter Brown.

Two things gave me cause to think about this picture recently. The first was the hype around the Anzac Day centenary commemorations – I’ll explain that connection later. The second was reading US academic Paula Rabinowitz’s beautifully written, highly original work, American Pulp: How Paperbacks Brought Modernism to Main Street.

Most people view pulp as either exploitative lowbrow culture or highly collectable retro artefact. Yet pulp has a secret history which Rabinowitz’s book uncovers. Her central thesis is that cheap, mass-produced pulp novels not only provided entertainment and cheap titillating thrills, but also brought modernism to the American people, democratising reading and, in the process, furthering culture and social enlightenment.… Read more

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Pulp Friday: The Zebra-Striped Hearse

The Zebra Stripped Hearse

To celebrate the 100th birthday of iconic crime author, Ross Macdonald, today’s Pulp Friday offering is the stunning cover of the 1964 Bantam edition of The Zebra Striped Hearse.

The Zebra Striped Hearse was one of eighteen novels written by Macdonald, a pseudonym for the Canadian writer Kenneth Miller, to feature the private investigator, Lew Archer. The story, first published in 1962, is a decided bent tale of murder and potential multiple identities, set amid the supposed idyllic suburbs of California.

Since his death in 1983, Macdonald’s fame as a writer of hard boiled private investigator tales has tales has reduced somewhat. That’s a pity because in books like The Zebra Striped Hearse, Macdonald, through Archer, interrogated the sin and depravity that existed in the suburbs of San Francisco and Los Angeles.

I have no idea who did the striking cover to this book and would be keen to hear from any Pulp Curry readers who do.

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The Nickel Ride

Thenickelride-RobertMulligan1974_zpscfd16d4c

Amid the well-deserved hype around the film version of Paul Thomas Anderson’s Inherent Vice was this interesting list of early seventies crime films set in California and its surrounds. One of these was a little known 1974 movie, which I re-visited recently after first seeing it years ago, The Nickel Ride.

Jason Miller (best known for his role in 1973 film, The Exorcist) is Cooper, a mid-level operative in the LA crime scene, who managers several downtown warehouses where the mob stash their stolen merchandise. This job has earned the nickname of ‘Key Man’ due to all the keys to various storage facilities he has to carry around. He is also involved in various other legal and illegal activities, including fixing fights, bail bonds and acting as a dispute solver of sorts for the members of downtown LA’s working class criminal milieu.

Cooper and his employers face a major problem. They are running out of space to store their pilfered goods and Cooper is under major pressure to finalise negotiations on large track of old commercial warehouse space that would be perfect for their needs. But there seems to be some sort of complication preventing him from closing the deal.

Cooper’s immediate boss, Carl (John Hillerman, instantly recognisable as Higgins in Magnum PI), is getting skittish and assigns Turner (Bo Hopkins), a cocky cowboy enforcer, to shadow him.… Read more

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