Post is pinned.
Are you a new recruit to the #pulprevolution? A users manual:

We're here to push the pulp aesthetic in new directions and cultivate new stories that reflect the aesthetic that made the best writers of the pulp era great.

Conversations can get heavy when we wander into the weeds of lit crit and philosophy. Come prepared to be challenged by those who disagree. This is technically a moderated group, but I will only censor spam and actual abuse. I may ask the parties to retire from the field with honor if there's an obvious personality clash that is disrupting the group, but that's as far as I'll go: I'm not your mother.

For readers
Come here to share and discuss stories new and old, films and TV, old time radio, fan history, the lot. If you post artwork, please provide some information on where it's from, who the artist is, when it was done, etc. This is especially useful for illustrations liberated from actual magazines, so we can cross-reference to the stories.

Short reviews - especially of new work - are definitely welcome, as are links to your blog for longer reviews. I don't think character assassination of authors, no matter what their stripes, will find a welcoming audience. We judge work on its merits.

For writers pro or non
As above, but also to talk about the process and matters regarding publication.

And YES you may promote your books/stories if you like (use "Hot off the press"), and if they are pulp aesthetic work (ie relevant). We may have harsh words for you if you abuse this, and if self-promotion is all you do you may find yourself joining the other spammers. I WILL delete multiple postings of the same item. You have been warned. You can also expect that the community will tell you what they think.

If you're seeking feedback, please use the "snippets and seeking beta-readers" category to solicit comment or advice. Note:

- you can post whole snippets of your work for comment. Please try to focus on a particular passage you want feedback on. Be prepared for blunt, honest responses varying from "I liked/hated it" to a detailed analysis of what you did wrong (mostly the former) and probably also suggestions of how to improve it. You may also get crickets. You'll need a thick skin, but we do want to help you, I promise.

- to protect you in case you're intending submission, if you want feedback on a full manuscript, it's best to post a call for beta-readers with a brief description of the work and an explanation of what you expect, then contact volunteers directly for private discussion. Be clear whether you're looking for free line editing, or just commentary on what works and what doesn't. If you're willing to pay for services, by all means ask. Probably someone can point you in the right direction.

I just started a new detective series because the first book was Audible's Deal Of The Day a few days back. It's set in a tourist town on the Jersey shore, I'm not familiar with that region, but his descriptions sound a lot like Myrtle Beach, which I am familiar with. So it's easy to visualize the scenes, and the feel of the town is very realistic.

But that's not why I'm bringing it up. The main character, John Ceepak (not the narrator--the narrator is Ceepak's partner, rather like the Watson/Holmes dynamic) is the best anti-anti-hero I've ever read.

What I mean by that is that Ceepak is the opposite of the rogue cop who gets results by ignoring the rules. Ceepak gets results by following the rules--all of them. He is a stickler for procedure and doing it all by the book. He is unfailingly polite and courteous with everyone and scrupulous about ensuring that the exact letter of the law is obeyed.

When he gets in trouble with the department it's because his boss wants him to lighten up and let things slide.

It's a really fun character concept, and I like the subtext. Ceepak is a cop because he believes in Law and Order and he believes that working within the law will result in justice--and he makes that work. As such, he makes a refreshing change from the post-Serpico stereotype of a dirty cop in a dirty world.

Listening to the first book (I have the second, but haven't started it yet) reminds me of the kind of inflexible moral code that Philip Marlowe had, and which has been gradually lost in the evolution of "hardboiled" through Same Spade, Mike Hammer, and the New Noir in which good guys and bad guys are nearly impossible to tell apart.

In my opinion this character has recovered an important part of the Pulp aesthetic.

Popped a few stories from 1940s Planet Stories into the style analyzer

as a point of comparison:

Post has attachment

Tested 4 stories, including one from 24 years ago. All came up the same even after clearing cookies.

I do, however, note the lack of any pulp-era authors except Lovecraft and Chandler included in the data for comparative analysis.

Post has attachment
I think I found a much better style analyzer based on stuff in Project Gutenberg;

Gives a correlation similar to the image.

Post has attachment
Seeking contributors to
it is literally nothing right now but Jheric and I reserved the domain last week, we hope to have a flood of articles and fiction there soon. Anyone who shoots me an email - do you have DMs in G+? - will receive an author invite to the Blogspot blog that now occupies that domain.

If you have a short story you've given up on publishing put it there. If you have an article you wanted to write but you didn't want to maintain a blog put it there. If you do have a blog put the article on anyway, with a prominent link back to it. Copyright always reserved to the original author for all time.

We're hoping this can be a grand central location for PulpRev, something more tightly focused on the literature and the fandom than the Castalia House Blog, which of course we hope you'll keep checking at the same time. The project's in its infancy but we think it's gonna be a big boy soon.

I am currently listening to G K Chesterton's "The Man Who Was Thursday" read extremely well by Toby Longworth ( and while I have read this book a dozen times, the full force of the opening poetic dedication never really struck me until I heard it read aloud.

It's very suitable to the Pulp Rev movement, I think.

A cloud was on the mind of men, and wailing went the weather,
Yea, a sick cloud upon the soul when we were boys together.
Science announced nonentity and art admired decay;
The world was old and ended: but you and I were gay;
Round us in antic order their crippled vices came—
Lust that had lost its laughter, fear that had lost its shame.
Like the white lock of Whistler, that lit our aimless gloom,
Men showed their own white feather as proudly as a plume.
Life was a fly that faded, and death a drone that stung;
The world was very old indeed when you and I were young.
They twisted even decent sin to shapes not to be named:
Men were ashamed of honour; but we were not ashamed.
Weak if we were and foolish, not thus we failed, not thus;
When that black Baal blocked the heavens he had no hymns from us
Children we were—our forts of sand were even as weak as we,
High as they went we piled them up to break that bitter sea.
Fools as we were in motley, all jangling and absurd,
When all church bells were silent our cap and bells were heard.

Not all unhelped we held the fort, our tiny flags unfurled;
Some giants laboured in that cloud to lift it from the world.
I find again the book we found, I feel the hour that flings
Far out of fish-shaped Paumanok some cry of cleaner things;
And the Green Carnation withered, as in forest fires that pass,
Roared in the wind of all the world ten million leaves of grass;
Or sane and sweet and sudden as a bird sings in the rain—
Truth out of Tusitala spoke and pleasure out of pain.
Yea, cool and clear and sudden as a bird sings in the grey,
Dunedin to Samoa spoke, and darkness unto day.
But we were young; we lived to see God break their bitter charms.
God and the good Republic come riding back in arms:
We have seen the City of Mansoul, even as it rocked, relieved—
Blessed are they who did not see, but being blind, believed.

This is a tale of those old fears, even of those emptied hells,
And none but you shall understand the true thing that it tells—
Of what colossal gods of shame could cow men and yet crash,
Of what huge devils hid the stars, yet fell at a pistol flash.
The doubts that were so plain to chase, so dreadful to withstand—
Oh, who shall understand but you; yea, who shall understand?
The doubts that drove us through the night as we two talked amain,
And day had broken on the streets e’er it broke upon the brain.
Between us, by the peace of God, such truth can now be told;
Yea, there is strength in striking root and good in growing old.
We have found common things at last and marriage and a creed,
And I may safely write it now, and you may safely read.

G. K. C.

Post has shared content
A new blog focused on quick tasters of pulp classics, and links to online archives of the texts.

Post has attachment
So apparently there's this meme going around, recently retweeted by a scottish SF author who's on record as listing a buch of sweet SF tropes as being "bad scifi", where you post a picture like this and say "You have been visited by Lenin Cat - retweet/reshare/whatever-local-idiom-is to seize the means to production."

File under "they do not understand the irony"

By the way my #pulprev minions, you have been visited by Lenin Cat. But you lot are already seizing the means of production, so by all means carry on.

But house rule: No Gulags. Got it? 

Post has attachment
In case anyone was wondering where the best place to set a supernatural action story involving powered-up priests would be, it appears Brazil's got you covered. (Doesn't it always?)

Wait while more posts are being loaded