Homicide Sanitarium

Начало книги

The pulps, those gaudy-covered, cheap-paper, jack-of-all-fiction magazines that flourished during the first half of this century, provided a training ground for dozens of writers who eventually went on to bigger and better literary endeavors.

William E. Barrett, Theodore Dreiser, Sinclair Lewis, Horace McCoy, and Tennessee Williams wrote for them. So did Isaac Asimov, Ray Bradbury, Max Brand, Edgar Rice Burroughs, Zane Grey, Robert Heinlein, John Jakes, Louis L'Amour. And so did John Dickson Carr, Raymond Chandler, Erie Stanley Gardner, Dashiell Hammett, John D. MacDonald, Rex Stout, Cornell Woolrich--and Fredric Brown.

Brown was working as a proofreader for the Milwaukee Journal when he sold his first pulp story, "The Moon for a Nickel," to Street & Smith's Detective Story Magazine in 1938. This first taste of success was all the impetus he needed; before long he was selling regularly to a wide variety of pulp markets--crime stories to Clues, Detective Fiction Weekly, Detective Tales, Dime Mystery, Phantom Detective, Popular Detective, The Shadow, Strange Detective Mysteries, Ten Detective Aces, Thrilling Mystery; science fiction and fantasy stories in Astounding, Captain Future, Planet Stories, Thrilling Wonder Stories, Unknown, Weird Tales; even a couple of westerns to Western Short Stories. By 1948, his success in the pulp marketplace--coupled with the novels he had begun to publish in 1947 with The Fabulous Clipjoint, winner of the Mystery Writers of America Edgar as Best First Novel of that year--allowed him to devote his full time to writing.

Читать дальше →