Pulp Fiction

If these yarns were trash, then they were the best trash. 

They were trash for connoisseurs of trash.

― Don Hutchison

Frank Munsey dreamed big.

A mid-level manager for Western Union, Munsey quit his job and moved to New York in September 1882, with the dream of becoming a publisher. 

In less than two months he launched Golden Argosy, a monthly boys' magazine he conceived as a replacement for the "dime novels" so popular at the time.

But Munsey had to scramble for readers—boys worked long and hard to spare a dime in the 1880s; and many couldn't—and after four years found himself going broke.

Rather than give up his dream, Munsey repackaged Golden Argosy.

His decision gave birth to an industry. 

First, he shortened the name of his faltering magazine and shrank its physical dimensions by 60%. He also replaced its expensive cotton-paper pages with wood-pulp, a move that allowed him to price Argosy at just five cents a copy.

Most importantly, Munsey expanded the magazine's audience to include adult men.

Argosy became a runaway hit, attracting over 500,000 monthly readers. 

To keep his audience coming back, Munsey made sure his "pulp" dished up every sort of story the American male craved—romances, adventures, sex stories, war stories, crime stories, mysteries, Western tales, historical tales, and sci-fi thrillers.

Appearing in droves, copycats soon launched competing pulps—by the hundreds. 

Within a few years, they crowded the racks of drugstores, newsstands, tobacco shops and confectioneries nationwide. 

Their titles included such gems as Black Mask, Marvel, Nick Carter, Clues, Dime Detective, Nickle Western, Fight Stories, Railroad Stories, Pirate Stories, Saucy Stories, Pep Stories, Spicy Adventure, Weird Tales, Wild West Weekly, Dare-Devil Aces and The Mysterious Wu Fang.

Not only did publishers cash in on the pulp-fiction craze, but writers did, too.

About 1,300 of them wrote short stories for two cents a word, in order to feed men's insatiable demand for escape.

While most pulp-fiction writers are forgotten today, some are well remembered—even lionized.

Among the latter are William Faulkner, Tennessee Williams, Dashiell Hammett, Raymond Chandler, John D. MacDonald, Edgar Rice Burroughs, Earle Stanley Gardner, H.P. Lovecraft, Ray Bradbury, and Arthur C. Clarke.

A paper shortage during World War II, the debut of the 25-cent "pocketbook," and the proliferation of movies, radio programs, and TV shows displaced the pulps.

Bleeding readers, magazines like Dime Detective and Dare-Devil Aces simply shuttered.

Those that didn't abandoned fiction altogether, moving into the category of "men's magazines" and devoting their lurid pages to topics like Nazi sadists, serial killers, Bigfoot, and the Bermuda Triangle. 

I still remember seeing those throwbacks in the confectioner's stores in the early 1960s, on the racks above the comic books and the copies of Mad. 

By then, the age of the pulps was over.

"The age of the pulp magazine was the last in which youngsters were forced to be literate," pulp-fiction writer Isaac Asimov lamented.