Grady Hendrix
Publisher: Quirk Books
Pub. Date: September 19, 2017
Rating: 5 out of 5 stars
If there was a golden age for horror fiction, it was in the 70s and 80s.
There were certainly great and memorable horror fiction being written
and published before that but it was the 70s when the publishing
companies took notice and started to hype it as its own particular, and
eventually profitable, niche. Before the 70s, most horror was delegated
into the gothic romance section and, surprisingly to some I will
surmise, labelled as women’s fiction. As Grady Hendrix points out in his
excellent and constantly entertaining
Paperbacks from Hell: The Twisted History of 70s and 80s Horror Fiction the onslaught of horror can thank the stunning success of three novels from the late sixties and early seventies;
Rosemary’s Baby by Ira Levin,
The Other by Thomas Tryon, and
The Exorcist
by William Peter Blatty. Of course, Stephen King would have a thing or
two to say about all this but he was just the pinnacle in a coming
horror cavalcade.
Before I start reviewing
Paperbacks from Hell, I want to add my own personal recollection. I was introduced to horror via the movie
Frankenstein
at 6 years old thanks to a rather negligent babysitter who, unknown to
my parents, allowed me to stay up way after my bed time and watch it
with her. That was the beginning of my horror obsession. As a young teen
the EC comics, also banned in my household, was really the only pure
horror in print I could sneak out and find. My main source of scares and
thrills was the paperback
Alfred Hitchcock Presents anthology
series (35 cents a pop) which would publish and reissue some pretty good
and classic horror among its usual array of mystery and suspense
fiction. This was my introduction to a number of classic horror writers
including Bradbury, Bloch, Beaumont and others, not to mention the short
story that Hitchcock later adopted for a film titled “The Birds” by
Daphne DuMaurier. It was about the time of the horror trifecta of novels
mentioned above that I began to discover paperbacks with wonderfully
lurid covers that promise me more terrifying thrills than I was
previously led to believe existed. So I grew up during this wonderful
splurge in horror novels. I am both proud and embarrassed that I read an
alarmingly large amount of the novels mentioned and illustrated in
Hendrix’s book when they came out. I am sorry to say I missed the Nazi
leprechaun one though. Whether I am the better or worse for reading so
many of these books will depend on who you ask but it certainly
kick-started my imagination and I for one will say I am the better for
it.
Paperbacks from Hell chronicles the rise and fall of
this publishing phenomena with much wit and glee. The book itself is
gorgeous with its very generous photos of covers and illustrations from
many of these books. Personally, it is my idea of the perfect coffee
table book simply based on appearance. However, it is what is
communicated between the pages that is important and Hendrix covers both
the history and excitement of the era. He writes about the good and the
silly.. He knows about the literary importance of some of the novels as
well as the excesses. It is all written with a childish enthusiasm and
more than a little humor. For instance, when he writes about the
onslaught of demon spawn stories he offers some sage advice…
“But how do I know if the man I’m dating is the devil?” I hear you ask. Here are some warning signs learned from Seeds of Evil.
Does he refuse to use contractions when he speak? Does he deliver
pickup lines like, “You live on the edge of darkness.”? When nude, is
his body the most beautiful male form you have ever seen, but possessed
of a penis that’s either monstrously enormous, double headed, has
glowing yellow eyes, or all three? After intercourse does he laugh
malevolently, urinate on your mattress, and then disappear? If you spot
any of these behaviors, chances are you went on a date with Satan. Or an
alien.
Once Hendrix gives you the background for
the rise of the horror genre in the 70s and 80s, Hendrix separates his
chapter into the main themes presented in the novels: Hail Satan, Creepy
Kids, When Animals Attack, Real Estate Nightmares, and four other
intriguing subjects. This is where the fun really begins. He singles out
the most representative of the writers and the books of that theme as
well as his reaction. I was pleased with many of the authors I read
during that time getting recognition, both famous and infamous, but
there were plenty of writers I was not familiar with and whose books
have been mainly lost in the shuffle . (Where has Brian McNaughton been
all my life?) Whether being lost in the shuffle is rightly or wrongly
so, Hendrix usually has an opinion on it but it does makes me want to
get out there and hunt a few of these lost treasures down. One thing I
really like is Hendrix doesn’t try to pretend these are all classic.
Many he speaks of with befuddled amusement. He is particularly scathing
when dealing with the Amityville Horror book series. Yet he does not
ignore some of the real gems of this era. I am glad he mentioned three
of my favorite and often recommended books by me;
The House Next Door by Anne River Siddons,
The Auctioneer by Joan Sampson, and
Maynard’s Cabin
by Herman Rauch. All three of these were one-time horror novels written
by writers of other genres, But they are seminal works in the horror
field and attest to the power of this golden age that these established
authors were persuaded to tackle the disciplines of the horror novel and
do so quite effectively.
And oh those photos! It represents the
horror paperback in all its glory. Even if one does not read this book,
which would be a damn shame, there are enough glorious covers complete
with lurid subject matter and creepy stuff to fulfill anyone’s desire of
the need for the same. The covers get as much attention as the novels
themselves. Hendrix pays attention to the repeating themes and their
attempt to attract certain readers. Skeletons, devils, Nazi leprechauns,
scared females scantily dressed and running down a corridor. They are
all there.
I can only think of one book that is even close to doing this topic justice and that is
Danse Macabre
by Stephen King. But King wrote it in 1981 and was too close to the
material to do it justice. Hendrix uses the eyes of both a fan and a
historian, pointing out the good with the bad and setting it firmly in
the perspectives of other events going on during the time. The reign of
the horror paperback begun to wane in the 90s and although horror
boundaries are still being challenged, there has been no time since then
when that the horror market was inundated with so much quantity and,
arguably, quality. Many of the important horror writers that are active
today first started their career during these golden years. There was
Ramsey Campbell, David Schow and so many others. One can say it was
essentially their apprenticeship.
This is a seminal work for a
part of literature that has been unjustly ignored. The lows and highs
are addressed here but it is hard to understate how much these lurid
paperbacks contributed to the ongoing interest in horror today that we
see in mainstream movies, TV and of course literature. You are not going
to get this information in any more delightfully entertaining way so
please lurk to your bookstore and order this. There are lots of demon
children, killer rabbits, and splatterpunk villains in the pages ready
to tempted you into a thrift store book hunting spree once you finish
it.