In the past, as part of my
on-going study of the nascent field known as “Cryptoscatology,” I’ve reviewed
books that I believe could be included in the category of “Non-conspiracy
Cryptoscatology” (e.g., THE PERILS OF MOVIEGOING IN AMERICA by Gary D. Rhodes
and TEEN ANGELS & NEW MUTANTS by Stephen R. Bissette). My first book, CRYPTOSCATOLOGY, focuses primarily
on conspiracy theories, but the word “cryptoscatology” simply means “the study
of secret shit,” and in our society “shit” (i.e., that which is considered
illegitimate by mainstream culture) can take many, many forms.
Basically, any field of endeavor that is far removed
from the “value grid” of mainstream society is more than capable of winning an honored seat in the
hallowed halls of the Academy
of Cryptoscatology. This means that Cryptoscatology must, of
course, include pornography within its capacious parameters.
Today, students, we’ll be studying the field of pornography in the form of two new books
by Harlan Ellison: PULLING A TRAIN and
GETTING IN THE WIND, both recently published by the very hip new publishing
house, Kicks Books in New York.
If, after reading this review,
you’re interested in purchasing the books and meeting Mr. Ellison in person, you
might want to keep this date in mind (the following information is excerpted from a
recent Kicks Books press release):
Saturday, July 13, 2 – 5 pm
An Afternoon Reading, Signing and Haircut Party with Author Harlan Ellison
La Luz de Jesus Gallery**and Soap Plant
4633 Hollywood Blvd. Los Angeles, CA 90027
Sweeney Todd’s
Barber Shop
4639 Hollywood Blvd Los Angeles, CA 90027 |
Join the greatest living author of Juvenile
Delinquent street fiction Harlan
Ellison for this rare event as he arrives at in grand style
at La Luz de Jesus’ neighboring vintage clip joint, Sweeny Todd’s Barber Shop, for a
specially designed trim by shop curator Sween Lahman and is then escorted to
the gallery for a reading, and signing of his Kicks Books
blockbusters, Pulling a Train
and Getting in the Wind.
Limited edition 11 x 17 posters of the book covers will be available at this
event. It will be an afternoon of pizzazz and vinegar with a true living
legend!
[END OF EXCERPT]
|
What follows is my review of Ellison’s
two most recent collections….
Still Pulling This Train:
Harlan Ellison’s Pulling a Train and Getting in the Wind
by Robert Guffey
Bearing titles with deliciously lascivious double entendres,
Harlan Ellison’s latest story collections—Pulling
a Train: Violent Stories of Naked
Passions and Getting in the
Wind: More Stories By a Very Young
Harlan Ellison—are dark twins linked by the common themes of erotic
violence and violent eroticism.
Though well-known for having written such classic short stories
as “‘Repent, Harlequin!’ Said the Ticktockman” (1965), “I Have No Mouth, and I
Must Scream” (1967), “Grail” (1981), and “The Man Who Rowed Christopher
Columbus Ashore” (1992), Ellison began his career in the late 1950s churning
out penny-a-word pulp stories for men’s magazines such as Guilty, Manhunt and Trapped.
Considered pornographic upon their original 1959 paperback release, under
the title Sex Gang, the stories
featured in Pulling a Train and Getting in the Wind have been resurrected
by Brooklyn-based Kicks Books publisher Miriam Linna (a former musician who
once performed with such punk bands as The Cramps and Nervous Rex). Intended as nothing more than space-filler
for long-deceased “he-man publications” such as Knave, Rogue and Caper, these tales have risen like a
perverted phoenix from the puritanical ashes of 1950s moral strictures. Both books are fascinating time
capsules. What must have seemed like
standard softcore porn in 1959 now emerge in the 21st century as historical
records of the cultural mores of midcentury America and the ever-shifting
borders between what’s considered decency and degeneracy in mainstream culture.
If titillation alone had been the main impetus of these
stories, then reprinting them now would be a waste of time. But Harlan Ellison, even in his early 20s,
was too talented to take the easy way out of any assignment no matter how
perfunctory it may have seemed at the time.
In his entertaining introduction to Pulling
a Train (entitled “Inescapable Cemeteries”), Ellison calls these “zilch” stories
“crude,” and of course they are. And yet
the overall tone of the stories are
permeated with an offbeat world weariness, genuine schadenfreude, unusual for a young writer fresh out of Ohio who somehow
found himself in the 1950s Big Apple cranking out one-handed reads to make ends
meet. It’s this curiously dark tone that
lifts the material above its utilitarian roots.
The centerpiece of Pulling
a Train is a lurid novella entitled “Sex Gang,” a hardboiled crime story
about an eighteen-year-old thug named Deek Cullen who seems to be at the end of
his rope when we’re first introduced to him and quickly descends—inch by
painful inch—deeper into darkness as the tale progresses. Cullen’s desperation is palatable and effectively
conveyed through Ellison’s staccato, stripped-down prose as the protagonist
becomes unwillingly involved with an all-girl gang who spend their empty days
stalking the mean streets of New York
and raping virile young men like Deek in their spare time. Though the novella was “written for a buck”
(as Ellison says in his intro) at lightning speed, nonetheless one can’t help
but feel for Cullen’s confusion and his utter inability to escape the tragic
fate that awaits him. Ostensibly aimed
at male readers, from the perspective of the present day one might nonetheless
interpret this quasi-noir tale of sudden and near-inexplicable violence as a
proto-feminist manifesto, Valerie-Solanas-style, almost ten years ahead of its
time. Its blood-spattered plot twists,
interspersed with tough-talking knockout Amazons, prefigure the self-aware,
self-mocking tone of Quentin Tarantino’s 2007 film, Death Proof. Indeed, while
reading “Sex Gang,” I couldn’t help but think that this is the stuff Quentin
Tarantino probably dreams about writing.
(I also couldn’t help but think that “Sex Gang” would make a fascinating
21st century film, if adapted properly—or perhaps “improperly” would
be the apt word in this context.)
The most intriguing stories in both Pulling a Train and Getting
in the Wind are those that merge pornography with noir strains: the aforementioned “Sex Gang,” “A Girl Named
Poison,” “Dead Wives Don’t Cheat,” and “Carrion Flesh.” All four of these pessimistic tales have not
been in print since their original appearance in 1959 and are worth the price
of admission alone.
After finishing these two books at a fast clip, I pulled out
my copy of Leslie Swigart’s exhaustive (and now very rare) 1973 bibliography of
Ellison’s works entitled Harlan
Ellison: A Bibliographical Checklist,
and uncovered references to many other early Ellison tales that—to my
knowledge—have never been reprinted since their original publication in the
1950s pulp magazines that spawned them. These
stories bear such wonderfully over-the-top titles as “Psycho at Midpoint,”
“Homicidal Maniac,” “Scum Town,” “Glug,” “Satan Is My Ally,” “Only Death Can
Stop It,” and “A Corpse Can Hate.” One
can only hope that the release of Pulling
a Train and Getting in the Wind
might soon lead to the resurrection of these other lost gems from America’s pop
cultural past.
To order either Pulling
a Train or Getting in the Wind, visit the publisher’s website by clicking HERE.
Note: This review appeared originally, in somewhat different
form, in the March 2013 issue of THE NEW YORK REVIEW OF SCIENCE FICTION (#295).
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