Katy Karlyle
New York: The Olympia Press, 1970.

The Traveller’s Companion TC-489. A young artists moves to New York to paint, but also discovers the joys of the flesh, both men and women.

Carol Clanton
Sydney: Scripts, 1973.

“The nether world of women without men.” Australian reissue of the 1961 Midwood release. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

R. C. Gold
Hollywood: International Publications Inc., 1963.

“She hated men and turned to a lesbian for comfort.” France’ Book 1067. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Kirk Westley [Manning Lee Stokes]
New York: Macfadden-Bartell, 1971.

“She spent one night with another woman–and never wanted a man again.” Cover illustration by Daryl Greene. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Laura Duchamp [Sally M. Singer]
New York: Tower Publications, 1964.

Original Midwood paperback. “Laura Duchamp” is attributed to Sally M. Singer, who published over 100 pulp novels under the names March Hastings and Laura Duchamp. This tale centred on a woman dissatisfied with men turning to a woman for true sensuality. Cover illustration by Irv Docktor. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Laura Duchamp [Sally M. Singer]
New York: Tower Publications, 1965.

Original Midwood paperback. “Laura Duchamp” is attributed to Sally M. Singer, who published over 100 pulp novels under the names March Hastings and Laura Duchamp. This tale centred on a model that will pay any price for success. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Laura Duchamp [Sally M. Singer]
New York: Tower Publications, 1964.

Original Midwood paperback. “Laura Duchamp” is attributed to Sally M. Singer, who published over 100 pulp novels under the names March Hastings and Laura Duchamp. This tale centred on a young wife drawn away from her marriage by a female lover. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Laura Duchamp [Sally M. Singer]
New York: Tower Publications, 1965.

Original Midwood paperback. “Laura Duchamp” is attributed to Sally M. Singer, who published over 100 pulp novels under the names March Hastings and Laura Duchamp. A novel of lesbian pulp fiction set in a Parisian finishing school. One of the many lesbian pulps produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Kimberley Kemp [Gilbert Fox]
New York: Tower Publications, 1965.

Original Midwood paperback. “Kimberley Kemp” is attributed to Gilbert Fox, who used the name (along with Dallas Mayo) for his lesbian pulp fiction at Midwood, reserving Paul V. Russo for his heterosexual novels for the same house. This tale centred on a young houseguest drawn into an intimate arrangement with her hosts. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.

Kimberley Kemp [Gilbert Fox]
New York: Tower Publications, 1966.

Original Midwood paperback. “Kimberley Kemp” is attributed to Gilbert Fox, who used the name (along with Dallas Mayo) for his lesbian pulp fiction at Midwood, reserving Paul V. Russo for his heterosexual novels for the same house. This tale set at a weight-loss resort, where the female guests find one another as well as the diet. Cover illustration by Victor Olson. Midwood later reissued the work under the alternate title Secret Cravings. One of the many lesbian pulp novels produced in the mid to late 20th century. Often formulaic and issued in easily recognisable series with suggestive covers and titillating titles, the genre was written largely by male authors under female pseudonyms for a male readership, though a smaller number of authors, some of them lesbian or bisexual women writing under similar pseudonyms, brought more narrative sincerity and psychological depth to the same commercial format. The genre as a whole ranges from outright formulaic titillation to more literary treatments of lesbian relationships within the constraints of the paperback original.