Kemp Kimberly (22 results)

Condition: New.

Unknown. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. ORIGINAL first edition. 338, very good , creases (Straight Novel + Lesbian Novel), paperback,

Soft cover. Condition: Near Fine. 1st Edition. Two paperback originals. Early "sleaze" novels. Near fine.

Soft cover. Condition: Very Good. No Jacket. 2nd Edition. A Very Good copy of this 2nd printing PBO. IB.

Mass Market Paperback. Condition: Very Good (faults). Midwood F141. Front cover corner clipped. Book store handstamp ffep.

Decorated Wraps. Condition: Near Fine. No Jacket. Midwood Paperback #37-153, 1968, 3 adult novels in one paperback, scarce in near fine condition.

Paperback. +. 34-277 near fine, unread photo cover. lesbian paperback,

Paperback. Condition: Very Good. Book has light wear to corners, light toning to spine and back, three small letters in ink at top of spine (also a blue zero in middle of spine), some pen marks at top edge of first page. otherwise book is clean and attractive with a solid binding and clean pages. Quite nice overall. Photos on request.

Paperback. Condition: Very Good. Book has slight wear to corners, a few light white spots to textblock, some creases to spine along with light toning. otherwise book is clean and attractive with a solid binding and clean pages. Photos on request.

Soft cover. Condition: Good. Paul Rader (illustrator). 2nd Edition. Party Time by Kimberly Kemp.

219 pp + ads. Two erotic novels. "Two women who were accustomed to getting everything they wanted!" Victims and victimizers, shamed and shameless, they lived lives of avarice and devious viciousness; taken advantage of and plotting their revenge in scintillating & sordid scenes of sin. 34-737. Paperback. Light shelfwear. Very good.

Soft cover. Condition: Near Fine. First Printing Anywhere. 12mo, 154pp, publisher's pictorial wrappers bearing Victor Olson illustration, red dyed edges (slight rubbing at corners, else a near fine copy).

Soft cover. Condition: As New. No Jacket. KEMP, Kimberly [155] pp. Tower Publications, Inc. 1963 7 1/8" x 4 1/4" Nothing to Lose by Kimberly Kemp is a vintage pulp paperback, often found as a gay-interest or sleaze novel from the 1960s, published by Midwood/Tower Publications, distinct from Christy Reece's modern Grey Justice series with a similar title, focusing on themes of survival and desire with its protagonist on the run.

Paperback. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

First Edition. Kemp, Kimberly and Mayo, Dallas. Lesbian pulp novel collection, 1962-1966, documents mid-twentieth-century commercial fiction centered on same-sex desire, produced within the constraints and conventions of American mass-market publishing. These works support research into LGBTQ+ representation, gender roles, and the commodification of lesbian identity in popular literature during a period when explicit depictions were often coded, sensationalized, or framed for heterosexual audiences. The material illustrates how pulp fiction functioned as a cultural space where taboo subjects could circulate, shaping both public perception and private readership of lesbian themes. Kemp, Kimberly; Mayo, Dallas. Collection of 3 mass-market paperback novels. New York: Tower Publications, 1962-1966. Includes: [1] Kemp, Kimberly. Illicit Interlude. 1963. First edition. 192 pages. Cover illustration depicts a man embracing a blonde woman, contrasting with the novel's internal exploration of same-sex encounters during separate vacations, promoted with the tagline "She was a strange woman.who could yield her flesh to a man-and wish he were a woman." [2] Kemp, Kimberly. Pleasant Company. 1966. Second edition of Illicit Interlude. 192 pages. Cover features a woman in a fur coat against a wood-toned background, with the tagline "She knew how to set a man at ease," emphasizing heteronormative framing despite underlying lesbian themes. [3] Mayo, Dallas. Voluptuous Voyage. 1962. First edition. 192 pages. Cover art shows two women aboard a ship, one gazing toward the ocean while another looks on, visually foregrounding female relationships within a travel narrative context. All volumes measure approximately 4.25 x 7 inches and feature illustrated wrappers characteristic of mid-century pulp publishing, with bold taglines and suggestive imagery designed for commercial appeal. These novels emerged during a period when LGBTQ+ identities were marginalized in mainstream publishing, and pulp paperbacks provided one of the few widely accessible formats for such content. Publishers like Tower capitalized on sensational themes while navigating censorship and market expectations, often presenting lesbian relationships through ambiguity or moral framing. Despite these constraints, such works circulated widely and contributed to the visibility of same-sex desire in popular culture. The reuse and retitling of Illicit Interlude as Pleasant Company reflects marketing strategies within the pulp industry. Minor wear consistent with handling; overall very good condition. A representative grouping illustrating the intersection of sexuality, commerce, and narrative form in mid-century American pulp fiction.

Kemp, Kimberly. Lesbian pulp paperback archive, 1964 to 1966, documents mid-20th-century commercial representations of lesbian identity within mass-market publishing, providing evidence of how same-sex desire was framed, marketed, and circulated in the absence of broader public discourse. Issued by Midwood Books, these works contributed to a body of literature that shaped popular and internalized understandings of lesbian relationships, often combining sensationalism with coded or explicit depictions of intimacy. The archive supports research into LGBTQ+ cultural history, pulp publishing practices, and the construction of lesbian identity in pre-Stonewall American media. Collection of 4 mass market paperbacks published in New York by Midwood between 1964 and 1966, all attributed to Kimberly Kemp, a pseudonymous author. The group includes: [1] The Houseguest. New York: Midwood, 1964. First edition, first printing. Cover tagline reads: "She was like a magnet, a temptation as strong as the strange hungers she had so deliberately awakened," accompanied by artwork depicting two women in an intimate domestic setting. [2] A World All Their Own. New York: Midwood, 1964. First edition, first printing. Tagline reads: "More than just roommates, they shared an intimacy that society scorned," with cover illustration emphasizing physical admiration between two women. [3] Party Time. New York: Midwood, 1964. Second printing. Tagline reads: "Beautiful and bored with men, Royce threw a special kind of party for seven very special friends," with imagery of women in a social gathering suggestive of exclusivity and desire. [4] Pleasant Company. New York: Midwood, 1966. First revised edition. Tagline reads: "She knew how to set a man at ease," with cover art foregrounding feminine allure through stylized fashion and pose. The covers employ visual and textual cues typical of the genre, including suggestive taglines and stylized depictions of women, designed to attract a broad readership while signaling taboo subject matter. Produced during a period when lesbian identity remained largely marginalized in mainstream discourse, such pulp novels functioned as one of the few widely available sources through which lesbian themes entered public circulation. While often shaped by commercial imperatives and heteronormative framing, these works nonetheless contributed to the visibility of same-sex relationships and the formation of a recognizable, if constrained, cultural vocabulary around lesbian identity. The archive offers insight into the intersection of sexuality, publishing, and visual culture in the 1960s, particularly within the context of pre-liberation LGBTQ+ history. Pages clean and crisp with light age toning, minor edge wear to covers; all volumes structurally sound; overall very good. A cohesive group illustrating the aesthetics and narrative framing of mid-century lesbian pulp fiction.

Lesbian pulp novel archive. 1961-1966. This group documents mid-twentieth-century lesbian representation in mass-market paperback fiction, recording how same-sex desire was depicted within popular publishing under conditions of censorship and social constraint. These novels present narratives of romance, secrecy, and marginalization, often framed through sensational or moralizing language while still providing one of the few widely accessible forms of lesbian visibility in print. The archive establishes how pulp fiction functioned as a commercial and cultural space in which queer themes circulated to a broad readership. Archive of five mass-market paperback novels, each approximately 150 to 250 pages and measuring about 4.25 x 7 inches, with illustrated covers depicting women in posed or narrative scenes. [1] Simpson, Lew. Twisted Lust. Chariot Books, 1961. First edition. 160 pages. Cover illustration of a reclining red-haired woman; rear cover promotes "The intimate affairs of a Hollywood star who lived in the shadow of forbidden thrills!" [2] Reed-Mar, P. J. Women Without Men. Greenwich: Fawcett Publications, 1963. Second printing. 160 pages. Set in a women's prison, with cover imagery of a woman behind bars and narrative centered on relationships formed within incarceration. [3] Mayo, Dallas. When Lights Are Low. New York: Midwood Books, 1963. First edition. 156 pages. Cover art by Paul Rader shows two women in close proximity, emphasizing attraction and tension; promotional text highlights emotional and physical desire. [4] Kemp, Kimberly and Graham, Frank. Draw the Blinds and Surprise, Surprise. New York: Midwood Books, 1966. First edition. 219 pages. Double novel presenting two narratives of relationships between women; cover depicts a woman in an interior setting framed by suggestion and secrecy. [5] Stevens, Gus. The Thing About Susan. North Hollywood: Brandon House Press, 1966. First edition. 158 pages. Cover photograph of a woman in a doorway; narrative follows a developing romantic relationship between two women. These works were produced during a period when paperback publishing expanded rapidly and provided an outlet for topics largely excluded from mainstream literary markets. Lesbian pulp novels circulated through drugstores and newsstands, often coded through sensational cover art and language while still offering readers access to narratives of same-sex relationships. Some dampstaining and warping to spine of Twisted Lust; others with light wear; overall very good. A representative archive of 1960s lesbian pulp fiction, documenting both the constraints and visibility of queer narratives in midcentury American print culture.

Dean, Ralph; Hyte, Jason; Lord, Sheldon; Kemp, Kimberly. Group of five lesbian and bisexual pulp novels published between 1959 and 1964, documenting early representations of same-sex female relationships within mid-century American mass-market fiction. Produced at the end of the 1950s and into the early 1960s, these works present narratives of departure from heterosexual norms, exploration of identity, and negotiation of social constraint. The inclusion of two titles by Sheldon Lord (pen name of Lawrence Block), later noted by Barbara Grier in The Lesbian in Literature for producing "excellent and sympathetic portraits of individual Lesbians," distinguishes the archive within the genre for its comparatively developed characterization. Together, the volumes provide insight into how lesbian and bisexual identities were depicted for a wide readership prior to broader cultural shifts later in the decade. Dean, Ralph. One Kind of Woman. New York: Universal Publishing and Distribution Corporation, 1959; Hyte, Jason (John Plunkett). Swing Low Sweet Sinner. New York: Midwood Tower, 1963; Lord, Sheldon (Lawrence Block). Of Shame and Joy. New York: Midwood Books, 1960; Kemp, Kimberly (Gilbert Fox). Illicit Interlude. New York: Midwood Books, 1963; Lord, Sheldon (Lawrence Block). The Third Way. New York: Beacon-Signal Books, 1964. Five mass-market paperback volumes, each approximately 4.25" x 7" and ranging between roughly 150 and 250 pages. Cover illustrations feature saturated colors and staged compositions of women in intimate or emotionally charged positions, often signaling romantic or forbidden desire. One Kind of Woman follows a woman leaving an abusive marriage and forming a relationship with another woman, foregrounding themes of autonomy and escape. Swing Low Sweet Sinner presents a bisexual protagonist engaged in relationships with both men and women, emphasizing fluidity of desire. Of Shame and Joy centers on a lesbian relationship in Provincetown, incorporating a setting associated with artistic and queer communities. Illicit Interlude depicts a married woman's evolving attraction to women, framed through fantasy and experimentation. The Third Way situates lesbian relationships within a workplace environment, highlighting power dynamics and professional ambition. Across the archive, cover taglines emphasize secrecy, deviation, and emotional intensity. Issued during a period of restrictive social norms and expanding paperback distribution, these works illustrate how lesbian and bisexual themes were introduced into popular fiction through formulaic yet varied narrative approaches. Publishers such as Midwood, Beacon-Signal, and Universal distributed these titles widely, shaping public-facing depictions of queer identity through both sensational framing and, in some cases, more nuanced characterization. The presence of multiple Sheldon Lord titles allows for examination of an author identified within later LGBTQ bibliographic scholarship as offering more empathetic portrayals within the genre. The archive supports research into LGBTQ literary history, pulp publishing practices, and the evolution of queer representation in early Cold War American culture. Light wear consistent with age, with some minor creasing; overall very good condition. A cohesive grouping illustrating late 1950s to early 1960s lesbian pulp fiction and its narrative range.

Marr, Reed; Richards, Donna; Des Cars, Guy; Wade, Carlson; Kemp, Kimberley. Lesbian pulp novels published between 1956 and 1974 document the circulation of same sex desire within mid twentieth century popular publishing under conditions shaped by censorship, medical discourse, and Cold War social regulation. Issued as inexpensive mass market paperbacks, these works frame lesbian identity through narratives of criminality, institutionalization, psychological diagnosis, and moral deviation while simultaneously providing some of the only widely distributed representations of queer women available to readers during the period. The archive supports research into the intersection of sexuality, print culture, and mid century social control, including how publishers balanced sensational content with moralizing frameworks to satisfy obscenity restrictions and commercial demand. Archive consists of five mass market paperback volumes published between 1956 and 1974 in the United States and Australia, each in illustrated wrappers and typical 12mo format. Titles are as follows: [1] Marr, Reed. Women Without Men. Greenwich, CT: Fawcett, 1957. Set within a women's prison environment, the narrative asserts that inmates "became as beasts" within conditions of confinement, situating lesbian desire within carceral space and behavioral breakdown. [2] Des Cars, Guy. The Damned One. New York: Pyramid, 1956. First U.S. translation from the French. Promoted with the question "What made her act like a man," the novel examines gender nonconformity and butch femme dynamics through a European narrative lens. [3] Wade, Carlson. The Troubled Sex. New York: Beacon Envoy, 1961. A hybrid text combining pulp narrative and pseudo clinical framing, described as a "frank and penetrating study of habits and practices among lesbians," presenting case study language alongside sensational content. [4] Richards, Donna. The Perfumed Flesh. New York: Domino Books, 1964. Described as a narrative in which a "charm school lured girls to a new life," the novel situates same sex relationships within institutional grooming and hidden social networks. [5] Kemp, Kimberley. Forbidden. Sydney: Scripts, 1974. Advertised through the line "she began with a harmless experiment. but could not do without more of the forbidden fruit," the work reflects later developments in the genre, incorporating themes of self awareness within a continued rhetoric of moral risk. These publications were distributed through national paperback networks during a period when same sex relationships were frequently classified as criminal or pathological in both legal and medical frameworks. Publishers relied on coded language, moral warnings, and institutional settings such as prisons, schools, or clinics to legitimize depictions of lesbian relationships while maintaining compliance with obscenity standards. The cover art and promotional text emphasize tension between visibility and stigma, presenting desire as both spectacle and subject of regulation. Light rubbing and edge wear across volumes with occasional creasing and mild spine lean; bindings intact; overall good to very good condition. This grouping provides concentrated evidence of how lesbian identity was constructed, mediated, and circulated within mid century mass market literature prior to the emergence of openly queer publishing movements.

First Edition. Baker, Dorothy; Wimberly, Gwynne; Kemp, Kimberly; Hytes, Jason; Hitt, Orrie; Smith, William Gardner. Fiction published between 1951 and 1965 documents the treatment of lesbian desire and gender nonconformity within mid twentieth century American literary and mass market publishing, including both pulp narratives and more sustained literary engagement. These works situate same sex relationships within frameworks of psychological conflict, social deviance, and interpersonal power while also providing some of the limited textual spaces in which queer women appeared in print during a period when homosexuality was widely criminalized and medically pathologized. The inclusion of Dorothy Baker's Trio, alongside pulp and hybrid texts, establishes a continuum between literary and commercial representations of lesbian identity, supporting research into gender norms, censorship, authorship, and the circulation of queer themes across different strata of midcentury publishing. Archive consists of five mass market paperback volumes published between 1951 and 1965 in the United States, each in illustrated wrappers and standard 12mo format. Titles are as follows: [1] Smith, William Gardner. Anger at Innocence. New York: Signet, 1951. A novel centered on a young woman's emotional and sexual uncertainty, including moments of intense same sex intimacy and gender ambiguity within a broader narrative of alienation. [2] Wimberly, Gwynne. One Touch of Ecstasy. Derby, CT: Monarch, 1960. Promoted with the question "Who would release her frozen passions: A man or a woman," the narrative frames erotic awakening within competing heterosexual and same sex possibilities. [3] Hitt, Orrie. Sin Doll. New York: Beacon Signal Books, 1963. Includes a subplot involving a dancer drawn into a coercive relationship with another woman, presenting lesbian desire within a context of exploitation and moral decline. [4] Kemp, Kimberly and Hytes, Jason. Immoral / Forbidden. New York: Midwood Books, 1964. Two in one edition; Forbidden follows a woman entering a relationship with her female employer, structured through domestic proximity and escalating intimacy, representative of Midwood's production of lesbian themed fiction under house pseudonyms. [5] Baker, Dorothy. Trio. New York: Avon Books, 1965. First paperback edition of the 1943 novel; follows a college age protagonist negotiating relationships with both a male suitor and an older woman, offering one of the earlier sustained American literary treatments of lesbian desire written by a woman author. These works were produced within a cultural environment shaped by legal restrictions on homosexuality, psychiatric classification of same sex desire as disorder, and expanding paperback distribution networks that enabled wide circulation of both sensational and literary texts. Pulp publishers relied on coded language, moral framing, and scenarios involving surveillance, authority, and age asymmetry to structure narratives that could pass obscenity scrutiny while still appealing to reader curiosity. At the same time, novels such as Trio demonstrate the presence of more complex and interiorized depictions of lesbian relationships within mainstream publishing. Light edge wear, rubbing, and occasional spine creasing with age toning to pages; bindings intact; overall very good condition. This grouping provides a concentrated view of how lesbian identity was negotiated across literary and commercial forms in midcentury print culture.