Pulp magazines have influenced writers, artists, film directors, software developers, and countless others over the years. Our “PulpFest Profiles” focus on contemporary creators who have drawn inspiration from these rough-paper fiction magazines.
From the 1950s to the 1990s, the late Samson Pollen created top-notch illustration artwork for various types of periodicals and paperback books, as well as fine art paintings for galleries and commissions. However, most of his artwork — literally hundreds of paintings — was used as interior illustrations for stories in the Atlas/Diamond group of men’s adventure magazines published by Martin Goodman’s Magazine Management Company. PulpFest 2021 is very pleased to announce that the artist’s widow, Jacqueline Pollen, will be exhibiting a number of her late husband’s fabulous illustrations in our dealers’ room.
Jacqueline married illustrator Samson Pollen in 1977. A well-matched pair, their relationship was lively, creative, and very simpatico. The two were inseparable until his passing in 2018.
While Jacqueline infrequently modeled for her husband, on the occasions she did, she stood in for a variety of unlikely characters. She portrayed everything from a male soldier on the battlefield to the striking gothic heroine who memorably appears in the pages of the Men’s Adventure Library collection, POLLEN’S WOMEN. Attendees of PulpFest 2021 may be able to persuade Jacqueline to sign their copies of the book.
Wyatt Doyle: What was Sam like as a person?
Jacqueline Pollen: Very kind and empathetic. He was a very giving and loving person to everyone and a very caring and modest person. That’s what I love most about him, his kindness to everyone. No chip on his shoulder, just nose to the grindstone, and he enjoyed everything he did. His illustrations and his artwork were superior, but he was a very humble guy, always modest about his work.
When they say “jack-of-all-trades, master of none,” that wasn’t Sam. Whatever he touched or whatever he endeavored to do and learn, he mastered; he did it to the maximum. So to me, he was more than a great illustrator. For example, he taught himself computer graphics and wrote the most intricate programs I have ever seen. All self-taught. He was interested in a lot of things, and in every aspect of what he did, he learned all that he could. He was what they call a savant, in every field.
He built his studio himself; he built the scaffold, he built every shelf, he built the table, and he put them all together over one weekend. He designed it so if he moved around, everything came with him. A mobile studio, which I use myself for my own drawings — pop art and fantasy scenes, animals and people in fantasy situations. Almost like cartoons.
Wyatt Doyle: What aspects of Sam do you see in the paintings that he created?
Jacqueline Pollen: I see a professional. “You are as good as your last job,” was his motto. He felt a responsibility to produce every piece to his best ability. A professional in every way.
You would never know, at the end of the day, that he’d been painting. Everything was cleaned up. He was immaculate — his brushes were lined up perfectly, no paint on his fingers, nothing.
Every painting — and I’m looking at them on the wall as I’m speaking to you — is done in such a perfect way, because he was a perfectionist, and had the attitude, “I will never give less than my all.”
I admired that. And he knew instinctively what to do to portray action in his work, whether in the tilting of a boat or the angling of couches in different directions. I think he was born with that. And he knew just what to give editors, every time they asked for something or they gave him a synopsis. “This is a scene where there’s fire, and these people are running through the forest . . . now give me something.”
The description didn’t have to be much, but he was able to take it all the way. And every time he produced something, it was . . . WOW!!!
Wyatt Doyle: What drew you to PulpFest this year? Are you in the dealers’ room to sell artwork or display it?
Jacqueline Pollen: A little of both. It’s very exciting to be able to display my husband’s work. Interest in it seems to be developing and growing, and I am proud to share it. I’m honored to bring his art to PulpFest, and I’m very excited to see examples of work from other illustrators in the pulp genre.
Wyatt Doyle: Thanks very much for speaking with us, Jacqueline. We look forward to seeing you at PulpFest 2021.
Wyatt Doyle is a writer and artist from Pennsylvania who has worked in publishing, movies, and television. He launched New Texture in 2006 and designs and edits most of its publications.
With Bob Deis, Wyatt co-edits the Men’s Adventure Library which collects classic stories and artwork from the men’s adventure magazines. Their books include WEASELS RIPPED MY FLESH!; A HANDFUL OF HELL: CLASSIC WAR AND ADVENTURE STORIES; POLLEN’S WOMEN: THE ART OF SAMSON POLLEN; ONE MAN ARMY: THE ACTION PAPERBACK ART OF GIL COHEN; MORT KÜNSTLER: THE GODFATHER OF PULP FICTION ILLUSTRATORS; and other titles. Their most recent release is MANEATERS: KILLER SHARKS IN MEN’S ADVENTURE MAGAZINES.
Our featured image is Samson Pollen’s illustration for “The Battling Priest Who Smashed a New York Mob,” published in STAG for March 1974. Illustrating our post from top to bottom are three Samson Pollen illustrations from the men’s adventure magazines: “Five Greek Girls to Istanbul,” from MALE for April 1964; “We’re Trapped in an H-Bomb Fall Out Zone,” from STAG for January 1974; and “The Plot to Bury China in Money,” from MEN for May 1959.
Thanks to Robert Deis, editor of MENSPULPMAGS.COM — the men’s adventure magazines and books blog — for sharing Samson Pollen’s illustrations with PulpFest.
