first edition
by Lesbian, Pulp
[LGBTQ] Four original lesbian pulp fiction paperbacks from the peak of the genre’s popularity, reflecting the cultural tensions and commercial exploitation of same-sex desire in postwar America. These titles span multiple subgenres—“confessional exposé,” softcore psychodrama, and suburban domestic disruption—illustrating how lesbian sexuality was alternately pathologized, eroticized, and stigmatized in mid-century mass-market paperbacks. Each volume features a sensationalized cover and tagline designed to titillate a presumed heterosexual male readership, while providing coded representations of queer female experience during a period when such narratives were otherwise taboo in mainstream media.
[1] Gail Spencer. Lesbian Lovers. Los Angeles: Raven Book, 1962. “Men failed to satisfy her.” This title centers on a young woman disillusioned with heterosexual norms who discovers passion in the arms of another woman. The cover painting—of a bare-backed woman in lingerie watched by a pensive figure in a negligee—hints at intimacy, secrecy, and transgression. Though formulaic, the narrative opens a space for female sexual agency. Light rubbing to edges, very good.
[2] George Bishop. Lesbian Love. Los Angeles: Boudoir, 1964. First printing. "The most candid, complete, penetrating study ever published…” Billed as a nonfiction “clinical survey,” this exploitative paperback combines pseudo-psychiatric framing with prurient storytelling. The subtitle promises access to “hundreds of real-life love relationships in the half-world of Sapphic sex.” The cover depicts two women in bathing suits and heavy makeup, reinforcing voyeuristic appeal under the guise of scientific inquiry. Very good with some light toning.
[3] J.L. Bouma. Never Say No. New York: Midwood, 1964. Midwood F353. “It had to be her way—or not at all!” A pulp tale of dominance and submission, centered on a woman who seduces her roommate into a relationship marked by control, secrecy, and sexual coercion. The cover art by Paul Rader shows a woman on her knees, reaching toward another figure with downcast longing—visually encapsulating the push-pull dynamic of many Midwood lesbian titles. Near fine.
[4] Justin Kent. Mavis. Derby, New York: Universal, 1964. “A scalding novel about the females of the species.” One of the darker entries in the genre, Mavis portrays a young wife’s descent into “soft corruption” after becoming romantically entangled with a more worldly woman. The mauve-toned cover depicts a three-woman tableau—sensual, stylized, and emotionally charged. Like much of Beacon’s output, the book positions lesbianism as both alluring and destructive. Small corner crease, very good.
All four volumes in original pictorial wrappers. Minor rubbing, mild spine creases to a few volumes; overall very good or better. No missing pages or internal markings.This compact but thematically representative archive captures the multifaceted tropes of lesbian pulp—pathology disguised as reportage, desire masquerading as danger, and queerness as both deviance and discovery. Ideal for scholars of gender studies, queer visibility, and postwar print culture, these works document how lesbian identity was simultaneously commodified and made legible in an era of enforced heteronormativity. (Inventory #: 21936)
[1] Gail Spencer. Lesbian Lovers. Los Angeles: Raven Book, 1962. “Men failed to satisfy her.” This title centers on a young woman disillusioned with heterosexual norms who discovers passion in the arms of another woman. The cover painting—of a bare-backed woman in lingerie watched by a pensive figure in a negligee—hints at intimacy, secrecy, and transgression. Though formulaic, the narrative opens a space for female sexual agency. Light rubbing to edges, very good.
[2] George Bishop. Lesbian Love. Los Angeles: Boudoir, 1964. First printing. "The most candid, complete, penetrating study ever published…” Billed as a nonfiction “clinical survey,” this exploitative paperback combines pseudo-psychiatric framing with prurient storytelling. The subtitle promises access to “hundreds of real-life love relationships in the half-world of Sapphic sex.” The cover depicts two women in bathing suits and heavy makeup, reinforcing voyeuristic appeal under the guise of scientific inquiry. Very good with some light toning.
[3] J.L. Bouma. Never Say No. New York: Midwood, 1964. Midwood F353. “It had to be her way—or not at all!” A pulp tale of dominance and submission, centered on a woman who seduces her roommate into a relationship marked by control, secrecy, and sexual coercion. The cover art by Paul Rader shows a woman on her knees, reaching toward another figure with downcast longing—visually encapsulating the push-pull dynamic of many Midwood lesbian titles. Near fine.
[4] Justin Kent. Mavis. Derby, New York: Universal, 1964. “A scalding novel about the females of the species.” One of the darker entries in the genre, Mavis portrays a young wife’s descent into “soft corruption” after becoming romantically entangled with a more worldly woman. The mauve-toned cover depicts a three-woman tableau—sensual, stylized, and emotionally charged. Like much of Beacon’s output, the book positions lesbianism as both alluring and destructive. Small corner crease, very good.
All four volumes in original pictorial wrappers. Minor rubbing, mild spine creases to a few volumes; overall very good or better. No missing pages or internal markings.This compact but thematically representative archive captures the multifaceted tropes of lesbian pulp—pathology disguised as reportage, desire masquerading as danger, and queerness as both deviance and discovery. Ideal for scholars of gender studies, queer visibility, and postwar print culture, these works document how lesbian identity was simultaneously commodified and made legible in an era of enforced heteronormativity. (Inventory #: 21936)
(818) 224-4555
