Raymond Chandler, Spanish Blood, The World Publishing Company Tower Mystery, 1946
It is well known that hardboiled stories, which we would now describe as noir, first appeared in 1920s pulps magazines. And that, from the early 1940s, noir novels were circulated as paperback reprints or, in many cases, paperback originals. This belies the fact that the influential, early hardboiled novels were published as hardbacks, complete with polished dust jackets. This benefited especially hardboiled writers of the 1930s, before the triumph of paperbacks. But even after that, noir authors whose books had been published as hardbacks tended to find an easier way into the modern canon of noir literature. While paperback warranted circulation (as the case of Spillane made clear), hardback still anchored conservation, and hence institutionalisation.
W. R. Burnett, Little Caesar, Lincoln MacVeagh, The Dial Press, 1929 Continue reading
Some iconic crime fiction series like the influential Série Noire constituted, in the aftermath of WW2, a canon of existential (ist) literature in the guise of noir fiction. Continue reading
(Iconographic Source; http://bookscans.com/Publishers/signet/signet.htm)
The New York based publisher, The New American Library was formed in 1948 and soon became the biggest American publisher of paperbacks. Both of its founders, Kurt Enoch and Victor Weybright had experience with the European pioneers of the mass market paperback industry, the British Penguin and the German Albatross, which Enoch had launched in 1932 and directed. Signet fiction was a particularly successful imprint of The New American Library. The paperback reprints it published included (but were by no means restricted to) a number of classics in the noir genre. The series’ distinctive visual style owed much to the influence of the artist James Avati. Dubbed “The Rembrandt of Paperback Book Covers”, often reminding one of Hopper’s bleak style, he drew many of the series’ covers and inspired the other illustrators commissioned by Signet.