The Modern Journal of Pulp Fiction and Degenerate Literature
Endorsements
Title Page
Masthead and Indicia
Matthew Louis: From the Editor
Contents Pages
Flash
John McFetridge “Plugged”
Albert Tucher “Tipping is Optional”
Christs Faust “Hit Me”
Stephen Rogers “Drive Thru”
Matt Wallace “Notes”
Keith Gilman “Bunker Hill”
r2 “Yellow Pellets”
Jacob Kohl “The One That Got Away”
Approximately 10 Minute Read Dept.
William Boyle “Neighborhood Girl”
Michael Bracken “Professionals”
Paul A Toth “For All I Know”
J.D. Smith “The Flower Girl”
Rey A. Gonzales “Bad Luck
Clair Dickson “The Pleasure Business”
Grant McKenzie “White Volcano”
M.C. O’Connor “Tweaker”
Gangland
John Rickards “Vengeance is Mine”
Ken Goldman “Fat Larry’s Night With the Alligators”
Mark Marquez “To Get to Uncle Johnny’s”
E.E. Howard “The Thug We Love”
The Classic American Gangster (comic)
15 to 20 Minute Read Dept.
Rick McMahan “Out On the Razor’s Edge”
Steve Alten “Lost in Time”
William Carl “Rumble”
Julie Wright “Devil, Me and Cherry B”
Nonfiction
Edwin Decker: Guzzle and Go, Goddamnit
Seth Ferranti: Adventures of a Meth Monster
Dale Bridges: Hooked
Other
Mind of My Own
Li’l Dahmer
Submission Guidelines
Notes on Contributors
Out of the Gutter No. 2 Summer 2007
Chief Editor: Matthew Louis
Deputy Editors: DZ Allen, Dale Bridges, Hana K. Lee
Finance: Joel Huck
Associate Publisher: Hassan Brubuddy
Publicity: Barney Stims
European Editor: Offenbach Stutz
5.5” x 8.5” 200 pages Originally $13.50
Out of the Gutter Online
An excerpt from Michael Bracken’s interview in The Digest Enthusiast No. 8, June 2018:
The Digest Enthusiast: In “Professionals,” the narrator is a gay prostitute. In “My Sister’s Husband,” Pulp Adventures No. 27 (Fall 2017) the narrator is a middle-aged woman. How do you ensure your characters act and speak authentically, with respect to their gender, sexual orientation, race, etc.?
Michael Bracken: I’m never certain that they do, and can only hope that they come close enough that readers will accept any mistakes I make.
The key, though, is to build characters from the inside out rather than from the outside in. Regardless of our gender, sexual orientation, ethnicity, religious beliefs, and whatever else divides us, we share many commonalities. We want to love and be loved. We want to feel safe and free from fear. We want to be happy and healthy. We want to be appreciated by our families and respected by our peers. The list goes on and on.
If we build characters from the inside out, the characters will “speak” appropriately and more genuinely than if we build characters from the outside in and rely on stereotypes or presume that all women speak one way and all gay men speak another.
Additionally, I try to minimize the use of jargon. A police office will use terminology from her job differently than a doctor, which is different still from a barista. Only a word or two is necessary for the reader to catch those differences.