Archive for Kay Addams

The Secret Perversions of Kay Addams by Kay Addams as told to Orrie Hitt

Posted in lesbian pulp fiction, Orrie Hitt, pulp fiction, Vintage Sleaze Paperbacks with tags on November 6, 2009 by vintagesleazepaperbacks

Addams - Secret Perversions of Kay Addams Examined  here.

Lucy by Kay Addams (aka Orrie Hitt), Beacon Books #308

Posted in Orrie Hitt, pulp fiction, Vintage Sleaze Paperbacks with tags , , , , , , on September 12, 2009 by vintagesleazepaperbacks

Hitt - Adams Lucy

A couple people asked me: “Does Orrie Hitt write difffrently under a female pseudonym or with his other pen names?”  Good question. Some writers do; some don’t. Some try; some don’t care, and some have no choice such as those who wrote for Nightstand and had house names like John Dexter and J.X. Williams forced on their work (not that they cared much, when the books were done for money rather than  literary prosperity).

“Kay Addams” is both a character and a pen name for Mr. Hitt — the books My Secret Perversions and My Wild Night with Nine Nudists are (both from Novel) written “as told to Orrie Hitt.”  This one, Lucy, and the lesbian novels Three Strange Women, Queer Patterns, and The Strangest Sin (all from Beacon) are “by” Addams.

Addams - Secret Perversions of Kay Addams

Lucy is about hopeless lower middle-class people who cannot pay their bills on time, never have enough money for anything, and drink too much to numb reality.  They have lousy jobs and sex gets them into trouble.  In many ways, this novel is like a Raymond Carver story — not that Hitt has the refined literary blue collarness of Carver, but these charcaters defintely live in Carver Country and the subject matter is something Carver would have tackled had he ever wrote a novel.  In fact, the “voice” reminded me of when Carver writes in the female first person, like his stories “So Much Water So Close to Home” and “Chef’s House” — you know this is not a woman writing, it is a man trying to see things through a woman’s eyes.

Lucy Corbin is married to Dale Corbin, a sorry fellah who manages his father’s insurance agency office in Manhattan.  His father is none too pleased with Dale because Lucy was a secretary there and he has a rule against employees dating, nonetheless marrying.  Lucy was married once before as a teenager, pregnant to a boy whose family tought she was poor white trash.  She lost the baby and lost the husband. She moved to New York City, got a job at an insurance agency, dated the office manager, and now here she is: living in the suburbs outside Manhattan in a place called the Hallows, a development part of the town Crestview with track homes sub-divided by economic class: lower-mid, middle, and upper crust middle dwellings.

Dale makes $200 a week. He gives Lucy $80 a week to which she uses to pay the mortgage, pay the various bills, buy groceries and booze, and more booze.  Often bills will go late in favor of booze.  She has not been able to buy herself any new clothes or shoes in three years.  She wants a baby but can they afford that?

Lucy is also a looker with a 40-inch bust.  Does any woman in Orrie Hitt’s universe have C, B, or A cups?  All his ladies are always overtyly busty, but this time Lucy mentions she feels she’s too big and wishes her boobs were smaller.

What does Dale do with the other $120 a week?  He says he needs it to take out clients, hotel rooms when he stays late and doesn’t catch the last train out of the city.  She knows he is having an affair but keeps quiet, until one day he gets drunk and confesses that he has been carrying on with a 17-year-old girl in the office — seems she is pregnant and if he doesn’t give her money for an abortion, or to live on, she will tell his father and he’ll lose his job, and she will put him in jail for statutory rape.  She wants $5,000.  It’s blackmail, obviously.

Lucy’s reaction is to drink. So does Dale. They get roaring drunk, fight, scream, have drunken sex like two Carver characters.  They drink when they wake up, drink all day until they pass out.  They drink with the neighbors who are just as miserable. They sit in bars with miserable lower-class people who talk aout how miserable their lives are and how many unpaid bills there are. To “make things even,” Lucy sleeps with two men in Crestville: the new neighbor and the guy who cleans the windows.

The teenage girl goes to Dale’s dad and tells him her son got her in a family way and dad fires them both.  She says she will go to the cops and have him arrested — she’s 17 after all.  Dale disappears when he catches Lucy with the neighbor.

Having to fend for herself, Lucy sells comestics door to door; at first she does well, but when she runs out of customers in town, ot ready for new orders, her income falls to nothing.

Addams - Lucy

There’s a rich woman who owns all the houses, who has their mortagge, Mrs. Williams — she married the developer and when he died, she inherited over 100 houses and collects all the mortgage payments. She tells Lucy there is a better way to make money and many of the good-looking local wives do it: in her 12-room mansion, Mrs. Williams runs a part time brotel, catering to well-to-do business men she knows.

Giving in to economic reality, Lucy agrees, but on her first day, the place is raided by the cops and she gets arrested.

Her husband shows up in court.  She gets off with probation.  Dale tells her that the girl got in a car accident and it was found out she is 19 an wasn’t pregnant, so he is off the hook.  They decide to give a go at their marrage again. Happy ending?  “We’ve learned that you don’t buy happiness,” she writes at the end. “You live it. And you live it together” (p.155).  Also like a Carver ending.  Was Carver reading Hitt in 1960?  he could have been.

Hitt tries for a little more sympathy and tenderness writing as a woman, but the Hitt misery and sleaziness is present.  I wonder now how he writes as Roger Normandie, Nicky Weaver (private eye stuff) and Charles Verne.

Weaver - Hitt - Love or Kill Them All

Orrie Hitt — Who Was He?

Posted in Midbook Books, Vintage Sleaze Paperbacks with tags , , , , , , , , , , on August 9, 2009 by vintagesleazepaperbacks

Hitt - Torrid WenchThe name Orrie Hitt has come up several times the past week that I thought I’d address the topic briefky.

Like Max Collier, Mike Avallone, Carter Brown, Don Elliott, J.X. Williams, and John Dexter, Orrie Hitt published hundreds of sleazecore novels in the mid 1950s to the early 1970s.

In an email, Barry Malzberg wrote to me:

Orrie Hitt was a real guy in Mississippi, big jolly fat guy GilHitt - Rotten to the Core Orlovitz told me who wrote this stuff to put his daughters through college.  They got through college and he quit.  Later he died (in his 50’s).  I don’t know if that’s true but it sounds reasonable.

(A curious side note: a fellow Malzberg fan told me that a bookseller we shall not name once had a Mel Johnson/Orrie Hitt Softcover Library double novel set at a high price and would not slash the price down, claiming that Malzberg penned the Hitt book, that Malzberg was (1) either Orrie Hitt or (2) borrowed the pen name.  “You’re getting two Malzbrgs in one book!” said vintage bookseller who apparently did not know his vintage writers. Malzberg has confirmed to me that he did not pen any Hitt book, like others penned Carter Browns or John Dexters.)

Doing the nifty Google search, one hit on Hitt from a blog has this to pontificate:

Hitt - prowl by nightOrrie Hitt Wrote the Great American Novel– Over & Over/ Why “Confidential” Continues to Thrill/ The Sweet Ride of Mail Art/And Which Mayors Are Married to the Mob?

Who the Hell was Orrie Hitt? Orrie Hitt wrote “racy” pulp fiction in the 50’s and 60’s. Most of it published in PBO’s (paperback originals). Skipping the hardback route, premiering in ephemera that sported covers alive with totally killer babes and guys in various states of mayhem. Married with children, Hitt wrote from a trailer in upstate New York, tossing back iced coffee and tapping out classics of sleaze on a battered manual in a matter of days. Meanwhile, angst ridden authors in cultural Meccas sweated bullets to produce a novel every seven years or so. God made the world in six days but Hitt made his in less. Again and again.

Hitt - Summer RomanceHere’s a Hitt bio in less than 100 words:

Hitt had a grinding regimen, twelve-hour days in front of an aged Remington Royal perched on the kitchen table, surrounded by iced coffee, noisy children and Winston cigarettes, pausing only for supper or to watch wrestling or Sergeant Bilkoon the television.

Hitt produced a novel every two weeks, for which he was paid as little as $250.

Lee Server in Over My Dead Body: The Sensational Age of the American Paperback: 1945-1955

Hitt - Shabby Street

Another blogger writes:

…How many young men in the 1950s and 1960s poured over the Orrie Hitt novels published by Beacon and Midwood with titles like Hitt The SuckerDORMITORY GIRLS? I went on line and found a Orrie Hitt novel titled THE SUCKER. The back cover blurb had the headline “One Damn Girl After Another.” In this day of explicit sexual content on television, it is hard to imagine the time when this sort of thing was borderline legal. On that back cover there is the wonderful rundown of the women the hero knew including one with whom he “…conspired by day and perspired by night.” My goodness, the writer who came up with that should have been carried out of the room on the shoulder of his or her peers.

For years I assumed that Orrie Hitt was a “house name” as it seemed unlikely that any writer could be that prolific. Few writers put their real names on Beacon or Midwood paperbacks. Michael Avallone was one exception. Mike came up with the best soft porn title THE CUNNING LINGUIST but he did use his Troy Conway name for that one.

So years ago I was surprised to learn that Orrie Hitt was a real personHitt - Affair with Lucy

Other stuff on Hitt here and especially here by a blogger who says he is a “Hitt man.”

You get the pic, dig on the Hitt.

Hitt - DollsandDuesI’ve heard mixed things about Orrie Hitt.  Gil Fox, talking to Lynn Munroe, said: “Orrie Hitt wrote absolute drivel! Have you ever tried to read an Orrie Hitt book?”  Hmm…Gil Fox wrote as Paul Russo, Kimberly Kemp, and Dallas Mayo, and some of them aren’t all that good, and some are pretty good.  Any prolific writer is bound to be a mixed bag of the good, the bad, and the ugly — true for Earl Stanely Gardner, Issac Asimov, Robert Silverberg, Barry Malzberg, and Lawrence Block.

Hitt wrote for just about every sleaze paperback publisher — Beacon, Softcover, Newsstand, Kozy, Midwood, Boudoir, Saber, Novel, Chafriot, Oracle, and I think he did a couple for Nightstand.  Most seem to be for Beacon and Kozy. He used the pennames Kay Addams an Nicky Weaver, yet preferred his own name on the covers, without an agent, typing away at home and sending his stuff out, starting out at $250 a book in the mid-50s (about $2000 in then-time money).  I guess he didn’t have any fear of the FBI coming after him — “Orrie Hitt” sounds like a pen name, like Saber Books’ “A. Bunch” or Cornith’s “A. Schole.”

Hitt - Promoter

The Promoter came in the mail today.I have a few others (see below).   Glancing through them, Hitt has a hardboiled voice wth snappy dialogue and shame dames in trouble.  The men tend to be blue collar workers, sleaze masters, cheating husbands, with come cheating wives, hookers, and lesbians.  Hitt write three or four peeping tom books, perhaps a passion of his?  I will be reading him and adding him to this blog soon.

I got The Cheaters for the Rader cover alone.  Seems to be about a hardboiled bartender and this married woman…

Hitt - Cheaters

And how could books with these titles and covers be ignored?

Hitt - Diploma Dolls

Hitt - Hot Cargo

Hitt - twisted Lovers

hitt - tramp wife

hitt - the peeperHitt - never Cheat Alone