There's a song they used to sing at Antioch College, and it went something like this: "She was just a little freshman Victim of Admission's whim Then she met an upperclassman—we won't name him— And she had a child by him. "Now he's off in New York City Rescued by the co-op plan While she walks the streets of Yellow Springs, Ohio, Looking for another man." Ah, they don't write 'em like that anymore, and it's not hard to see why. And the sad story recounted in the song is not entirely unlike that of Linda Shepard, titular (so to speak) heroine of CAMPUS TRAMP. The story of the book may be more interesting than the story told in the book. I wrote it in July of 1959, at the Hotel Rio on West 47th Street in New York. I'd just arrived from, yes, Yellow Springs, having spent a year writing books for Harry Shorten, editing the college newspaper, and giving short shrift to my academic studies. (This was my third year at Antioch. I was there for two years, took a year off to work at a literary agency, and then came back, only to discover that, having seen Paree, you couldn't keep me down on the farm. I tried to drop out during the first semester, got manipulated into staying by my parents, and somehow finished the year. Now I was in New York, where I was to spend the summer writing, before returning for what was supposed to be my last year of school.) Well. My agent came up with an assignment. William Hamling, publisher of science fiction and Rogue Magazine, had decided to initiate a line of erotic novels similar to what I'd been writing for Midwood. Could I write one? I could and did, and thought it might be amusing to use Antioch as a setting, and to choose the characters' surnames from the buildings and dormitory units on the Antioch campus. I picked the title CAMPUS TRAMP and sent it off, and they liked it well enough in Hamlingville (that would be Evanston, Illinois, IIRC) to ask for more. Not long after I'd finished the book, I got a letter from Yellow Springs. The Student Personnel Committee, having taken a long look at my academic performance, advised me of their decision that I might be happier elsewhere. I thought this was very perceptive of them, that I would indeed be happier almost anywhere else, and the passive-aggressive lout I was at the time found this an ideal resolution to a situation I seemed incapable of resolving on my own. Their letter had left the door slightly ajar, if not wide open; I sensed I could talk my way back in, but why? Then CAMPUS TRAMP came out, and a copy or two made it all the way to Yellow Springs, and a legend sprang up. I'd written the book as payback, it was said, a way to revenge myself upon the school that had expelled me. Now when I'd written CAMPUS TRAMP I'd still thought I was to return in the fall. And I was if anything profoundly grateful to the school for having cut the umbilical cord and sent me out into the world. No end of people knew better, even as they were sure they knew who the models were for the various characters—but that happens all the time. But never mind. One recalls the newspaperman's line from THE MAN WHO SHOT LIBERTY VALANCE: "When the legend becomes fact, print the legend!" For years I wondered who painted the cover, and recently learned it was one Harold W. McCauley. If he himself wasn't familiar with the college, he must have had coaching; that's a remarkably accurate representation of Antioch's Main Building, towers and all. Copies of the book commanded high prices at Antioch Senior Sales over the years, I've been assured, and Christian Feuerstein used to perform inspired readings of the text at what I can but assume were memorable occasions. I just wish someone had thought to hire her to do the audiobook.

When Joyce Kendall arrives in New York, she has a job and an apartment waiting for her. The job's as a first reader for Armageddon Publications. The apartment's at 21 Gay Street, and the small Federal-period house is already home to a lesbian couple, Jean Fitzgerald and Terri Leigh, and an out-of-work newspaperman, Pete Galton.

From the author: There's a song they used to sing at Antioch College, and it went something like this: "She was just a little freshman Victim of Admission's whim Then she met an upperclassman--we won't name him-- And she had a child by him. "Now he's off in New York City Rescued by the co-op plan While she walks the streets of Yellow Springs, Ohio, Looking for another man." Ah, they don't write 'em like that anymore, and it's not hard to see why. And the sad story recounted in the song is not entirely unlike that of Linda Shepard, titular (so to speak) heroine of CAMPUS TRAMP. The story of the book may be more interesting than the story told in the book. I wrote it in July of 1959, at the Hotel Rio on West 47th Street in New York. I'd just arrived from, yes, Yellow Springs, having spent a year writing books for Harry Shorten, editing the college newspaper, and giving short shrift to my academic studies. (This was my third year at Antioch. I was there for two years, took a year off to work at a literary agency, and then came back, only to discover that, having seen Paree, you couldn't keep me down on the farm. I tried to drop out during the first semester, got manipulated into staying by my parents, and somehow finished the year. Now I was in New York, where I was to spend the summer writing, before returning for what was supposed to be my last year of school.) Well. My agent came up with an assignment. William Hamling, publisher of science fiction and Rogue Magazine, had decided to initiate a line of erotic novels similar to what I'd been writing for Midwood. Could I write one? I could and did, and thought it might be amusing to use Antioch as a setting, and to choose the characters' surnames from the buildings and dormitory units on the Antioch campus. I picked the title CAMPUS TRAMP and sent it off, and they liked it well enough in Hamlingville (that would be Evanston, Illinois, IIRC) to ask for more. Not long after I'd finished the book, I got a letter from Yellow Springs. The Student Personnel Committee, having taken a long look at my academic performance, advised me of their decision that I might be happier elsewhere. I thought this was very perceptive of them, that I would indeed be happier almost anywhere else, and the passive-aggressive lout I was at the time found this an ideal resolution to a situation I seemed incapable of resolving on my own. Their letter had left the door slightly ajar, if not wide open; I sensed I could talk my way back in, but why? Then CAMPUS TRAMP came out, and a copy or two made it all the way to Yellow Springs, and a legend sprang up. I'd written the book as payback, it was said, a way to revenge myself upon the school that had expelled me. Now when I'd written CAMPUS TRAMP I'd still thought I was to return in the fall. And I was if anything profoundly grateful to the school for having cut the umbilical cord and sent me out into the world. No end of people knew better, even as they were sure they knew who the models were for the various characters--but that happens all the time. But never mind. One recalls the newspaperman's line from THE MAN WHO SHOT LIBERTY VALANCE: "When the legend becomes fact, print the legend!"

Ah, yes. THE ADULTERATORS, the thrilling account of a couple of desperadoes whose violation of the Pure Food and Drug Act brought a nauseated nation to its knees, and- Oh, it's THE ADULTERERS? Oh. Well, never mind. THE ADULTERERS was my second effort for Bill Hamling's Nightstand Books. Like its predecessor, CAMPUS TRAMP, its cover was the work of Harold W. McCauley. I wrote the book in the fall of 1959, and it's not hard to find its beginning in my own life a little over a year earlier. In May of 1958 I left the employ of Scott Meredith and went home to Buffalo, where I wrote my first novel, STRANGE ARE THE WAYS OF LOVE. Then, with my friend and Antioch roommate Steve Schwerner, I headed to Mexico to devote two months to rest and recreation before returning for another year at the college. We flew to Houston, hitchhiked to Laredo-and that last empty stretch of road from Freer to Laredo, where the book begins, bas not faded from memory. We were a long time waiting for a ride, and learned later it was because nobody wanted to pick up a hitchhiker on that stretch of highway; if you did and he put you out of the car, you'd die out there. Well, the guys who picked us up weren't worried. They were Tex-Mex gangsters in a block-long Caddy, and the car's welcome A/C was cool, but they were way cooler. THE ADULTERERS features George and Mona Sutton, a sexually incompatible couple on their way to a Mexican divorce. But they meet a helpful guide named Ernesto, and that changes everything. Now Steve and I had met an Ernesto of our own, and he was helpful enough to steer us to some pot, but this Ernesto took George to a live sex show, and it made an impression on the fellow. And, not too long afterward, Mona drank enough rum and Coca-Cola to float a light cruiser, and wound up as the sex slave of El Tigre, who might have been a narco-trafficker if the career category had existed back then. So it's a story of evolving depravity. And it's dedicated, you'll note, to Steve and Letitia. You already know who Steve is. Letitia was a young woman at work in one of the establishments we visited, and he became quite fond of her. But, you know, those summer romances never work out...

This is the most comprehensive dictionary available on comic art produced around the world. The catalog provides detailed information about more than 60,000 cataloged books, magazines, scrapbooks, fanzines, comic books, and other materials in the Michigan State University Libraries, America's premiere library comics collection. The catalog lists both comics and works about comics. Each book or serial is listed by title, with entries as appropriate under author, subject, and series. Besides the traditional books and magazines, significant collections of microfilm, sound recordings, vertical files, and realia (mainly T-shirts) are included. Comics and related materials are grouped by nationality (e.g., French comics) and genre (e.g., funny animal comics). Several times larger than any previously published bibliography, list, or catalog on the comic arts, this unique international dictionary catalog is indispensible for all scholars and students of comics and the broad field of popular culture.

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