Jun-Jul. 1969, Vol. 13 No. 09-10
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ann Bannon B
ANN BANNON b. September 15, 1932 AUTHOR “We wrote the stories no one else could tell.” “We were exploring a Ann Bannon is an author best known for her lesbian-themed fiction series, “The corner of the human spirit Beebo Brinker Chronicles.” The popularity of the novels earned her the title “The that few others were Queen of Lesbian Pulp Fiction.” writing about.” In 1954, Bannon graduated from the University of Illinois with a degree in French. During her college years she was influenced by the lesbian novels “The Well of Loneliness,” by Radclyffe Hall, and “Spring Fire,” by Vin Packer. At 24, Bannon published her first novel, “Odd Girl Out.” Born Ann Weldy, she adopted the pen name Ann Bannon because she did not want to be associated with lesbian pulps. Although she was married to a man, she secretly spent weekends in Greenwich Village exploring the lesbian nightlife. Between 1957 and 1962, she wrote “I Am A Woman,” “Women in the Shadows,” “Journey to a Woman” and “Beebo Brinker.” Together they constitute the “The Beebo Brinker Chronicles.” The series centers on young lesbians living in Greenwich Village and is noted for its accurate and sympathetic portrayal of gay and lesbian life. “We were exploring a corner of the human spirit that few others were writing about, or ever had,” said Bannon, “And we were doing it in a time and place where our needs and hopes were frankly illegal.” In 1980, when her books were reprinted, she claimed authorship of the novels. In 2004, “The Beebo Brinker Chronicles” was adapted into a successful stage play. -
Pulp Paperbacks and Their Covers by Teresa Theophano
The cover of Ann Bannon's Odd Girl Out as reissued by Cleis Press. Courtesy of Cleis Press. Pulp Paperbacks and Their Covers by Teresa Theophano Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com As much an artifact of lesbian popular culture as a source of amusing kitsch in today's more tolerant political climate, pulp fiction paperbacks (named for the inexpensive paper on which they were printed) remain a fascinating slice of life from the 1950s and 1960s. It was hard to miss those cheap books with their lurid covers and "shocking" tag lines, such as "She Hated Men and Turned to a Lesbian for Comfort!" Strangely enough, unlike today, lesbian-themed novels were easily available in almost any drugstore--and their publishers unknowingly provided a kind of lifeline for gay women living in a terrifically oppressive time. While some of these books were penned by men using female pseudonyms, the majority were written by lesbians for lesbians. Despite the buxom cover models featured to help sell the books to a male audience, there was some fairly serious literature among the pulp ranks. Indeed, author Ann Bannon, whose first pulpy book Odd Girl Out was published by Gold Medal in 1957, refers to the 1950s and 1960s as the "Golden Age of lesbian writing and publication." Mixed in with the ultra-sleazy "adult" titles such as Satan Was a Lesbian (1966) and Killer Dyke (1964), which were clearly intended to function as soft-core pornography, were some profound examinations of lesbian life, such as Claire Morgan's [that is, Patricia Highsmith's] The Price of Salt (1952), Ann Bannon's Beebo Brinker series (1957-1962), Valerie Taylor's A World Without Men (1963), and even reprints of Gale Wilhelm's Torchlight to Valhalla (1938) and Radclyffe Hall's classic The Well of Loneliness (1928). -
Exorbitance and Queer Futurities in the Well of Loneliness, Lesbian Pulp Fiction, and Radical Feminist Manifestos
FEET DOWN, NEW PLANET: EXORBITANCE AND QUEER FUTURITIES IN THE WELL OF LONELINESS, LESBIAN PULP FICTION, AND RADICAL FEMINIST MANIFESTOS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Sally Baker, B.A. Washington, DC March 19, 2018 Copyright 2018 by Sally Baker All Rights Reserved ii FEET DOWN, NEW PLANET: EXORBITANCE AND QUEER FUTURITIES IN THE WELL OF LONELINESS, LESBIAN PULP FICTION, AND RADICAL FEMINIST MANIFESTOS Sally Baker, B.A. Thesis Advisor: Jennifer Natalya Fink, Ph.D. ABSTRACT “Feet Down, New Planet” explores exorbitance and queer futurities in The Well of Loneliness, lesbian pulp fiction, and radical feminist manifestos. It extends queer theory to the texts as a way to expand them beyond the limits of their original sociocultural publication contexts. This thesis examines models of reproduction, queer embodiment, and world-building in The Well of Loneliness, lesbian pulp fiction, and radical feminist manifestos in order to examine how the authors write worlds beyond the limits of liberal feminist propriety, and imagine radical queer futures through oozing poetic sensibilities. “Feet Down, New Planet” contributes to queer theories of excess by mapping a cartographic and affective history of queer literary excess, and curates the exorbitant world-building frameworks Radclyffe Hall, Valerie Taylor, Jill Johnston, and Valerie Solanas imagine. iii TABLE OF CONTENTS Introduction: Feet Down…………………………………………………………………...... 1 Chapter I: Flesh Temporalities: Womb as Queer Counterpublic in The Well of Loneliness… 4 Introduction: The Well of Loneliness………………………………………………….. 4 Situating the Womb…………………………………………………………………. -
Silence Us Again. Nancy Manahan Napa College
Barbara Grier sets before us our entire literary heritage. Through her work we become visible to ourselves. This new expanded edition of The Lesbian in Literature is a must for the general reader as well as the serious collector. Here we meet all our ancestors and learn what they meant to their worlds and what they mean to our own. My own personal excitement about this book is beyond words. Jenny Feder Three Lives & Company, Ltd. Beginning with the first edition, The Lesbian in Literature has been a life line, helping me move from isolation and fear into a community of my Lesbian sisters and foremothers. It combats If the erasure of our past. It proclaims we have existed, we have struggled, we have loved, we have written. These affirmations are crucial at a time when patriarchal forces are mobilizing to silence us again. Nancy Manahan Napa College For ten years, The Lesbian in Literature bibliography has been my bible, almanac, and encyclopedia all rolled in one. Opening its pages is like opening a casket of jewels. May generations of Lesbians continue to be enriched and empowered by this wonderful work. Bonnie Zimmerman San Diego State University THE LESBIAN IN LITERATURE . , ,I, '." !' I ,r •• ."•• W< ',', ",,"po .", . THE LESBIANIN LITERATURE BARBARA GRIER the ~d -~lili / inc. 1981 THIS BOOK IS DEDICATED TO DONNA J. McBRIDE Copyright © 198 l by Barbara Grier All rights reserved. No part of Ibis book-may be reproduced or transmitted in ani'form or'by any"means,electronic or mechanical, including photocopying; without permission in writing from the publisher. -
A Visual Analysis of Lesbian Pulp Fiction Cover Art, 1950-1969
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2008 Watching Satan’s Daughters: A Visual Analysis of Lesbian Pulp Fiction Cover Art, 1950-1969 Carrie Shaver Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Communication Commons Recommended Citation Shaver, Carrie, "Watching Satan’s Daughters: A Visual Analysis of Lesbian Pulp Fiction Cover Art, 1950-1969" (2008). Master's Theses. 4184. https://scholarworks.wmich.edu/masters_theses/4184 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WATCHING SATAN'S DAUGHTERS: A VISUAL ANALYSIS OF LESBIAN PULP FICTION COVER ART, 1950-1969 by Carrie Shaver A Thesis Submitted to the Faculty of The Graduate College in partial fulfillmentof the requirements for the Degree of Master of Arts School of Communication WesternMichigan University Kalamazoo, Michigan June 2008 . Copyright by Carrie Shaver 2008 ACKNOWLEDGMENTS I owe a great deal to the faculty of the school· of communication at Western Michigan University who have supported me through their own research, comments, and questions. No thesis is ever the product of one person's efforts, and certainly this one was no different. I am gratefulto my advisor, Heather Addison, for conversations that clarified my thinking and thorough editing; to Kathleen Wong for the independent study that explored the work of Judith Butler; to Rebekah Farrugia and Ilana Nash for careful review of the thesis proposal and valuable feedback; to Leigh Ford, Chad Edwards, Autumn Edwards, and my family for their unwavering support and patience. -
Investigating Lesbian Pulp Fiction Through the Lens of a Lesbian Textual Community
UNIVERSITY OF BIRMINGHAM More Than Throw-Away Fiction Investigating Lesbian Pulp Fiction through the Lens of a Lesbian Textual Community Author: S Lou Stratton Student ID: 1074734 Supervisor: Dr Danielle Fuller Submitted: 12 January 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. S t r a t t o n | 1 Contents Acknowledgements ............................................................................................................... 2 Abstract................................................................................................................................... 3 Introduction: Locating a Pre-Stonewall Lesbian Textual Community in a Culture of Conformity ........………………………………………………………………………………………………………………… 4 Chapter One: Establishing a Lens for Reading Lesbian Pulp Fiction and The Ladder’s 3 Textual Community ..................................................................... 42 Chapter Two: ‘No Legitimacy’: Spring Fire and subversive commentary............................ 121 -
Sarah Rodigari
Pulp Sarah Rodigari First edition, 2020 /300 Rosa Press labours on unceded Wangal, Gadigal, Dharug, and Gundungurra lands. We acknowledge the unbroken sovereignty of First Nations people and the countless struggles against settler-colonial occupation. We pay our respects to elders past and present. Always was, always will be, Aboriginal land. Typeset by Swampy Hound Pulp Sarah Rodigari Jobs Didn’t you ever work as busboy? I was having a drink in a little bar inside the Algonquin Hotel, with an editor named Dick Carroll, when he asked me, “What Dishwasher? kind of story is a girl like you burning to tell” 1 Ever been a masseuse? Who wanted a temporary job? A switchboard operator? 7 Most girls were supposed to want security. But Laura wasn’t like most girls. She was like damn few girls, in fact. She was a She sat back, flushed, and stared at her handiwork. 8 loner: strange dream-ridden, mildly neurotic, curiously inter- esting, like somebody who had a secret. 2 Sometimes I strip on stage but mostly I work the booths. 9 There were class differences too — women seemed only she was quick and fluid in her to have jobs as waitresses or bartenders or truck drivers. 3 movements, and she had it down pat. 10 I’m selling junk here in the Village, She runs an elevator so she can wear pants all day. And Jack’s a draughtsman so he can be in an office full of virile engineers. 4 young girls with no jobs and timid eyes; old girls with no jobs and telling eyes; 5 To be a lesbian was to be invisible. -
Postwar Masculine Identity in Ann Bannon's I Am A
POSTWAR MASCULINE IDENTITY IN ANN BANNON’S I AM A WOMAN _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ______________________________________________________ by ALLYSON MILLER Dr. Elisa Glick, Thesis Supervisor JULY 2009 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled POSTWAR MASCULINE IDENTITY IN ANN BANNON’S _I AM A WOMAN_ presented by Allyson Miller, a candidate for the degree of master of art, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Elisa Glick Professor Trudy Lewis Professor Valerie Kaussen ACKNOWLEDGMENTS My research into the realm of lesbian pulp fiction has lead me down interesting paths. Sometimes those paths were rather obscure, overgrown and strewn with brush, barely visible amid the twigs and leaves. Thanks to the support and the advice of Dr. Elisa Glick, I did not lose my way in the forest, or rather when I did, Elisa guided me back toward the path. I am grateful for her patience and her direction and her chocolate. Dr. Trudy Lewis, too, has helped me through this process. She has soothed me in times of panic, consoled me in times of disappointment, and offered clear advice which guided my research. For all of this I am grateful. Valerie Kaussen deserves thanks as well for willingly and happily entering into this project so late in the game. I appreciate her generosity. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii LIST OF ILLUSTRATIONS ............................................................................................ -
Bury Your Gays: History, Usage, and Context Haley Hulan Grand Valley State University
McNair Scholars Journal Volume 21 | Issue 1 Article 6 2017 Bury Your Gays: History, Usage, and Context Haley Hulan Grand Valley State University Follow this and additional works at: https://scholarworks.gvsu.edu/mcnair Recommended Citation Hulan, Haley (2017) "Bury Your Gays: History, Usage, and Context," McNair Scholars Journal: Vol. 21 : Iss. 1 , Article 6. Available at: https://scholarworks.gvsu.edu/mcnair/vol21/iss1/6 Copyright © 2017 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. https://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol21%2Fiss1%2F6&utm_medium=PDF&utm_campaign=PDFCoverPages Bury Your Gays: History, Usage, and Context 1. Abstract story. Many instances of this trope draw a direct correlation between the couple Bury Your Gays is a literary trope that has confessing their feelings for one another, appeared in media across genre since the kissing, having sex for the first time and end of the 19th century. Works using the the character’s death; they often die mere trope will feature a same-gender couple and moments or pages after their relationship is with one of the lovers dying and the other confirmed for the audience. The surviving realizing they were never actually gay, often lover will then go through a process of re- running into the arms of a heterosexual acclimation whereby they realize that their partner. This trope was originally used as attraction amounted to an experiment or a way for gay authors to write about gay temporary lapse in judgement—or even characters without coming under fire for insanity, as homosexuality was classified as breaking laws and social mandates against a mental illness until 1974—and they then the “endorsement” of homosexuality. -
Krokos Master.Pdf (2.126Mb)
Between Identities Liminal Lesbian Spaces in American Literature and Culture of the 1950s Monika Krokos A Thesis Presented to The Department of Literature, Area Studies and European Languages In Partial Fulfillment of the Requirements For the Master of Arts Degree Supervisors: Deborah L. Kitchen-Døderlein Erika Johanna Kvistad UNIVERSITY OF OSLO Fall 2017 ii Between Identities Liminal Lesbian Spaces in American Literature and Culture of the 1950s Monika Krokos iii Copyright Monika Krokos 2017 Between Identities: Liminal Lesbian Spaces in American Literature and Culture of the 1950s Monika Krokos http://www.duo.uio.no Print: Reprosentralen, University of Oslo iv Abstract This thesis explores the liminal lesbian spaces established within heteronormative American society in the 1950s, both in the historical and literary context. It examines the spaces of suburban homes, sorority houses, women’s sport teams, and the women’s army corps, which created favorable conditions for the development of same-sex relationships. The theory of liminality and the concept of heterotopia are applied to these spaces to examine how the structure and the qualities of heteronormative environments contributed to women’s process of reconciliation with their gay identities. This thesis explores the historical evidence of lesbian representation in American society in the 1950s, and presents its literary reflection in The Price of Salt by Patricia Highsmith and Spring Fire by Marijane Meaker—the lesbian fiction of the times. Throughout the analysis of historical sources and the close-reading of the novels, this thesis examines the liminal, lesbian spaces and their contribution to gay women’s process of reconciliation with their homosexuality. -
The Medicalization of Sexuality in Twentieth-Century
THE MEDICALIZATION OF SEXUALITY IN TWENTIETH-CENTURY AMERICAN LESBIAN-IDENTIFIED LITERATURE by CAROL ANNE LITTLE Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts (English) Acadia University Fall Graduation 2013 © by CAROL ANNE LITTLE, 2013 ii This thesis by CAROL ANNE LITTLE was defended successfully in an oral examination on September 6, 2013. The examining committee for the thesis was: ________________________ Dr. Diane Holmberg, Chair ________________________ Dr. Ann Braithwaite, External Reader ________________________ Dr. Lisa Narbeshuber, Internal Reader ________________________ Dr. Anne Quéma, Supervisor _________________________ Dr. John Eustace, Head of the Department __________________________ This thesis is accepted in its present form by the Division of Research and Graduate Studies as satisfying the thesis requirements for the degree Master of Arts (English). iii I, CAROL ANNE LITTLE, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. ______________________________ Author ______________________________ Supervisor ______________________________ Date iv Table of Contents INTRODUCTION .............................................................................................................. 1 CHAPTER ONE .............................................................................................................. -
Lesbian Pulp Fiction
Lesbian Pulp Fiction By Jennifer Trainor Originating in 1939, the mass-market paperback boomed during the post-war years as readers in an era of labour-saving devices suddenly had more leisure time to fill. With GIs home from the war after exposure to a "more diverse range of sexuality" (Zimet 1999, p.18) overseas, publishers of paperback novels capitalized on the popularity of sensationalized stories of "sex, drugs, and illegal or salacious behaviour of all kinds" (Zimet, 1999, p.19). Early lesbian-themed paperbacks were written specifically for this market: publishers assumed a male readership for these books, and as such, many of them were written by men for men. The majority were written by and for women though, and despite the often negative portrayal of themselves in these books, they were still popular with lesbians since it was the only available literature with lesbian themes and characters (Zimet, 1999). Despite cover art that was clearly aimed at men, women learned to read the covers "ironically": "if there was a solitary woman on the cover, provocatively dressed, and the title conveyed her rejection by society or her self- loathing, it was a lesbian book"(Zimet, 1999 p.12). In 1952, as a reaction to the increase of sensational literature available in the marketplace, the U.S. House of Un-American Activities Committee condemned Tereska Torres's Women's Barracks - a book that contained lesbian characters and situations - as one of several examples of material that should be censored. Committee members refused to read from it because of its "pornographic" content, which, by today's standards, is relatively tame (Bianco).