Tag Archives: romance

Art of Romance, Chapter 18, Meskin Takes Over

(February 1952 – April 1952: Young Romance #42 – #44, Young Love #30 – #32)

Number of Romance Titles 1947 - 1953
Number of Romance Titles 1947 – 1953 (the period covered in this chapter is shaded in blue)

There has not been much change in what the Simon and Kirby studio was producing which were two monthly romance titles and one bimonthly horror all for Prize Comics. I believe all three titles were doing well but I will leave off explaining what is behind my belief until Chapter 20 of The Art of Romance and Chapter 4 of The Little Shop of Horrors.

Mort Meskin provided an astonishing 105 pages of art for the period covered in this chapter. This was much more then what Kirby drew (37 pages). To provide perspective Kirby only drew one more page then Bill Draut (36 pages) an artists not known for his speed. At this point Meskin has been the primary romance artist for about a year. You have to go back 3 years to find a period when Kirby produced more pages then Meskin did in these three months. The pool of other studio artists used during this period is rather small; John Prentice (27 pages), George Roussos (13 pages) and an unidentified artist (6 pages).

Young Romance #44
Young Romance #44 (April 1952) “Forget Me Not”, art by Jack Kirby

Kirby was the artists for the lead story for YR #42, #43 and #44 as well as YL #31. He continues to use the confessional splash where someone introduces the story to the reader and their speech balloon is also the title. The splash for “Forget Me Not” is perhaps the best of the Kirby splashes for this chapter.

Young Love #30
Young Love #30 (February 1952) “Problem Clinic”, art by Jack Kirby and George Roussos

Kirby has been known to provide a splash page for a story otherwise drawn by another artist. But it is unusual to find another artist doing the splash for a Kirby story. I find it particularly surprising that the artist would be George Roussos. The “Problem Clinic” is a standard Nancy Hale feature but this particular one is different from the others. The large vertical splash is not found in other Nancy Hale and is also not a typical splash format for Kirby. Normally “Problem Clinic” starts with Nancy Hale introducing the story, but not in this case. All this makes me suspect that the story was not originally meant to be a Nancy Hale “Problem Clinic” but was re-edited to become one.

Young Romance #44
Young Romance #44 (April 1952) “The Lady Says She’s Innocent”, art by Mort Meskin

While I commonly find phrases in romance stories drawn by Jack Kirby that suggest that he was at least modifying the scripts I normally do not find such phrases in the work of other studio artists. This not to say that Jack did not contribute to the writing of stories for other artists, some writers have reported that Kirby would help provide the writers with plots. But Jack did not seem to re-write the scripts the writers returned unless he was going to draw the story. However the splash for “The Lady Says She’s Innocent” might be an exception. The last line of the soldier “you were wearing my ring and someone else’s heart” sounds so like Kirby to me. Even the whole concept of a person entering the room to verbally disrupt the proceedings is one typically found in Jack’s art. Unusually Kirby did not alter Mort Meskin’s art as he sometimes did with other artists. However I suspect that is what happened here. The composition suggests that there always was a figure on the right side of the splash. Perhaps Kirby was not happy with it, removed the old figure and added a layout and text for the balloon. With other artists Kirby would just have proceeded to draw and ink the figure but since Meskin worked in the studio Jack just left it to Mort to finish it up.

Young Romance #43
Young Romance #43 (March 1952) “Gentlemen Prefer Ladies” page 5, art by Mort Meskin

As I have previously mentioned, Meskin has seemed to pick up the use of tall narrow panels for some pages in a story. I find the above page from “Gentlemen Prefer Ladies” particularly effective both in how well Mort uses the narrow panels and for the cinematic approach to presenting the story. Mort likes to provide the man of his stories with a pipe as a suggestion of their sophistication. I love how this pipe is prominently displayed even in fight scenes.

Young Love #32
Young Love #32 (April 1952) “Can’t Help Wanting That Man”, art by Bill Draut

Despite the fact that Meskin was providing more pages of art then anyone else, it was Bill Draut that was used for those lead stories not done by Kirby during this period. Draut was not as good an artist as Kirby (who was?) but he still did an excellent job on the confessional splashes. The one for “Can’t Help Wanting That Man” provides a complete story. The struggling starlet torn between ambition and desire is venting her dilemma on a busy television studio while here love interests looks on. It is everything a splash should be, particularly for the all important first story of the comic.

Young Love #30
Young Love #30 (February 1952) “Learn to Love” page 5, art by John Prentice

John Prentice had his own way of graphically telling a story and I provide an example above. The way he works up to the dramatic close-up in the last panel is quite good. I do have some qualms about panel 4. The simple hatching used for the sky unfortunately inappropriately suggests rain. It is not Prentice’s fault but the handkerchief that the lady holds has suddenly become the same color as the man’s shirt making it all a bit more confusing then it really would have been. Note the way the brickwork is handled in the last panel. The use of scattered groups of black bricks done in rough brushwork is often seen in Bill Draut’s work.

Young Romance #43
Young Romance #43 (March 1952) “The Way They Met”, art by George Roussos

George Roussos drew 6 features during this period and except for one they were all 1 or 2 page long. It is easy to see why; Roussos really was not that great of a romance artist, at least at this time.

Young Love #31
Young Love #31 (March 1952) “The Great Indoors”, art by Mort Meskin and George Roussos

Like most of the comic book industry at that time, Simon and Kirby did not normally provide credits for the artists that worked for on their productions. However they always allowed, perhaps even encouraged, artists to sign their work. So I always pay attention to the signatures because they provide the means to learn how to identify the various artists. The signature for “The Great Indoors” is a bit hard to make out but I thought it might have said Persius. It was the only story by Persius in my database and I could never uncover any further information or work by that artist. That is how it stood for a long time but my work for The Art of Romance has really tuned me in to the style used by George Roussos and when I saw the last panel of the splash page I immediately recognized it as his work. There are some parts, such as the man in the splash panel, that look like Mort Meskin’s style but initially I just attributed that to the large influence Meskin had on Roussos. When I closely looked at the signature again, I thought it actually read Roussos. Hey what can I say? Both the signature and the printing were poor.

Young Love #31
Young Love #31 (March 1952) “The Great Indoors” page 3, art by Mort Meskin and George Roussos

Going through the story I came across page 3 and saw the tall narrow panels. This is not a panel layout that I have seen Roussos use but it is one that Mort Meskin often turned to (see above). Then it all made sense. “The Great Indoors” was laid out by Meskin and finished and inked by Roussos. I have seen Jack Kirby do this with some less talented artists but this is the first example I have found of Meskin doing it. Roussos was one of Meskin’s inkers for work done previously at DC. I often find him listed as the inker for Meskin’s S&K work as well but I have not seen any evidence of that. Further Joe Simon has told me that Meskin inked his own work. “The Great Indoors” gives an indication of what Roussos inking Meskin have looked like at this time.

Young Love #32
Young Love #32 (April 1952) “Three Day Pass” page 3, art by unidentified artist

There is one artist I have not been able to identify but he only did a single piece, “Three Day Pass”. I find some resemblance to the work by Al Eadeh (Art of Romance, Chapters 5 and Chapter 7). Eadeh worked for Simon and Kirby back in 1949 and if “Three Day Pass” is by Al then his work has evolved a bit. Unfortunately I have no interim Eadeh pieces to compare it with, so for now I am just leaving it as unidentified.

Chapter 1, A New Genre (YR #1 – #4)
Chapter 2, Early Artists (YR #1 – #4)
Chapter 3, The Field No Longer Their’s Alone (YR #5 – #8)
Chapter 4, An Explosion of Romance (YR #9 – #12, YL #1 – #4)
Chapter 5, New Talent (YR #9 – 12, YL #1 – #4)
Chapter 6, Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 7, More Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 8, Kirby on the Range? (RWR #1 – #7, WL #1 – #6)
Chapter 9, More Romance (YR #13 – #16, YL #5 – #6)
Chapter 10, The Peak of the Love Glut (YR #17 – #20, YL #7 – #8)
Chapter 11, After the Glut (YR #21 – #23, YL #9 – #10)
Chapter 12, A Smaller Studio (YR #24 – #26, YL #12 – #14)
Chapter 13, Romance Bottoms Out (YR #27 – #29, YL #15 – #17)
Chapter 14, The Third Suspect (YR #30 – #32, YL #18 – #20)
Chapter 15, The Action of Romance (YR #33 – #35, YL #21 – #23)
Chapter 16, Someone Old and Someone New (YR #36 – #38, YL #24 – #26)
Chapter 17, The Assistant (YR #39 – #41, YL #27 – #29)
Chapter 18, Meskin Takes Over (YR #42 – #44, YL #30 – #32)
Chapter 19, More Artists (YR #45 – #47, YL #33 – #35)
Chapter 20, Romance Still Matters (YR #48 – #50, YL #36 – #38, YB #1)
Chapter 21, Roussos Messes Up (YR #51 – #53, YL #39 – #41, YB #2 – 3)
Chapter 22, He’s the Man (YR #54 – #56, YL #42 – #44, YB #4)
Chapter 23, New Ways of Doing Things (YR #57 – #59, YL #45 – #47, YB #5 – #6)
Chapter 24, A New Artist (YR #60 – #62, YL #48 – #50, YB #7 – #8)
Chapter 25, More New Faces (YR #63 – #65, YLe #51 – #53, YB #9 – #11)
Chapter 26, Goodbye Jack (YR #66 – #68, YL #54 – #56, YB #12 – #14)
Chapter 27, The Return of Mort (YR #69 – #71, YL #57 – #59, YB #15 – #17)
Chapter 28, A Glut of Artists (YR #72 – #74, YL #60 – #62, YB #18 & #19, IL #1 & #2)
Chapter 29, Trouble Begins (YR #75 – #77, YL #63 – #65, YB #20 – #22, IL #3 – #5)
Chapter 30, Transition (YR #78 – #80, YL #66 – #68, YBs #23 – #25, IL #6, ILY #7)
Chapter 30, Appendix (YB #23)
Chapter 31, Kirby, Kirby and More Kirby (YR #81 – #82, YL #69 – #70, YB #26 – #27)
Chapter 32, The Kirby Beat Goes On (YR #83 – #84, YL #71 – #72, YB #28 – #29)
Chapter 33, End of an Era (YR #85 – #87, YL #73, YB #30, AFL #1)
Chapter 34, A New Prize Title (YR #88 – #91, AFL #2 – #5, PL #1 – #2)
Chapter 35, Settling In ( YR #92 – #94, AFL #6 – #8, PL #3 – #5)
Appendix, J.O. Is Joe Orlando
Chapter 36, More Kirby (YR #95 – #97, AFL #9 – #11, PL #6 – #8)
Chapter 37, Some Surprises (YR #98 – #100, AFL #12 – #14, PL #9 – #11)
Chapter 38, All Things Must End (YR #101 – #103, AFL #15 – #17, PL #12 – #14)

The Art of Romance, Chapter 10, The Peak of the Love Glut

(January – April 1950: Young Romance #17 – #20, Young Love #7 – #8)


Number of Romance Titles 1947 – 1950 (the period covered in this chapter shaded in blue)

This chapter will cover the period from January to April 1950. This is the height of the love glut and the beginning of the decline in romance titles that followed. For Prize Comics the dropping of titles had not begun since the final issue of Real West Romances would come out in April. Young Romance had been and would remain a monthly. The presumably poor sales experienced by the western romance titles because of the glut was not shared by Prize’s standard love comics as Young Love became a monthly with the April issue. Frankly I am not clear what Simon and Kirby’s status was at this time with the crime titles Headline and Justice Traps the Guilty. At some point Joe and Jack seemed to have passed on the production of those titles to Prize Comics. A better understanding of exactly when that happened will hopefully be achieved as I advance further in my serial post It’s A Crime.

I have no explanation why in the last chapter Jack Kirby’s output dropped so much but now he returned to being the primary artist, at least by page count, with 6 stories and 71 pages (I am excluding illustrations for text features as they are minor works and may include recycled art.) Bill Draut, now again the second most used artist, actually had more stories but fewer pages (8 stories with 53 pages). The discrepancy is caused by the lead stories provided by Kirby have the highest page counts (13 to 15 pages). The two longest stories by artists other then Kirby were 10 and 9 pages while most were 8 pages long. As noted in the previous chapter Kirby would provide the lead story for Young Romance while Bill Draut would have the honor for Young Love. The general rule from now on will be Kirby more or less regularly providing a long lead story to Young Romance and this would be the only real distinction between the contents of Young Romance and Young Love where the lead story was generally done by other artists.

Other artists significantly trailed Kirby and Draut in page counts. The number of artists used in YR and YL drops, and the artists have been seen previously in either the standard or the western romance comics. As was true in the last chapter, Kirby did not supply layouts to any of the artists in this period. This was in contrast to the early issues where some of the less talented artists worked using Kirby layouts.


Young Romance #17 (January 1950) “The Girl Who Tempted Me”, art by Jack Kirby

Jack Kirby persists in providing exceptional splashes for his long lead stories. The use of a character introducing the story with the word balloon forming the title has become a trademark of Simon and Kirby romances. (As this splash layout will be repeatedly seen, I am going to refer to it as the confessional splash.) The very provocative splashes would be more risque then the actual story. These splashes are often very simple in composition but very effective nonetheless.


Young Romance #20 (April 1950) “Hands off Lucy”, art by Jack Kirby

Okay maybe I do not have much more to say about Kirby’s splashes, but they are so great (in my opinion) that I cannot resist including an image of another one.


Young Romance #19 (March 1950) “That Kind of Girl” page 13, art by Jack Kirby

Of course comic books are not all about splashes, those were just the devices to entice a reader to buy the comic and read the story. Jack always considered himself as mainly a graphic story teller. Although today Kirby is primarily for his work on superheroes, he was exceptional in pretty much every genre that he worked on. Because of the unique nature of his romance stories, it is clear that Jack was not just illustrating someone else’s script. He must have been an active participant in the plotting and I am sure that he continued the long S&K tradition of changing the script as he saw fit. At this time Jack liked to give a special quality to his romance stories by adding something beyond just romance. I am not sure how the readers of Young Romance and Young Love at that time (overwhelmingly teenage girls) felt about Jack’s romances but I am convinced that if these stories were given a chance many of today’s more adult readers would find them interesting reading.

For the most part Jack has adopted a very standard page layout of three rows with two panels in each row. Kirby would occasionally depart from that pattern when the story called for it but that would be the exception. Gone were any uses of circular panels. Figures would not extend beyond a panel’s border although captions or speech balloons might. My description of Kirby’s layouts might make his work sound dry and uninspired but that is certainly not the case. Using a standard panel layout seems to allow Jack to concentrate on depicting the story. Further when the story called for an alteration in the panel layout it was then that much more effective. Kirby was a master of use of changing view points, the addition or removal of background, and even the careful accommodation of speech balloons as the above page amply shows. It was not just melodrama, it was great melodrama! (An honest appraiser would admit that was true of Kirby’s superhero work as well.)


Young Love #7 (February 1950) “The Carnival Girl”, art by Bill Draut

Bill Draut’s position as the number two artist at this time was justified. He could fill a splash panel with a cast of characters each with their own distinctive personalities. Bill was no longer used as an artist in Headline or Justice Traps the Guilty, but this was not due to any problem in handling action since in his romance art he had no problems when action needed to be depicted. Perhaps of even greater importance for love comics, his women, while stylized, are attractive. All of these talents and more are shown in the above splash. Some of Draut’s stories start with a confessional splash even though they are not lead stories. Perhaps they were originally intended as lead stories but in the end placed elsewhere in the comic. Although I have seen this happen to Draut, I do not recall a Kirby confessional splash that was not the first story.


Young Love #8 (April 1950) “Every Man I Meet” page 4, art by Bill Draut

Like Kirby, Bill Draut generally kept to a standard six panel page layout. If anything he adhered to this layout even more then Jack. Bill would vary view points to keep the visuals interesting but he was not as cinematic as some other comic book artists. Draut graphically tells his story in a straight forward and understated manner. While the reader may not always be amazed by Draut’s art he will always find an entertaining and clear story.


Young Romance #18 (February 1950) “I Own This Man”, art by Mort Meskin

Mort Meskin first solo work for Simon and Kirby appeared in the month before the time covered in this chapter. During this period Mort played no more important a roll then any of the other studio artists (excluding Kirby and Draut). He supplied 4 stories and 2 short features with a total of 32 pages of art. While his presence was not insignificant it was nothing like the prolific output that Mort would achieve in the future. Interestingly Mort was initially used only for the standard and western romance titles, his first crime work would be in the March issue of Headline. Perhaps Meskin’s artist block was not completely overcome by Joe’s strategy of placing random pencils marks so that Mort would not be faced with a blank page.

Meskin’s preference was for a first page; two thirds of which would be used for a splash panel leaving room for a single row of story panels. Most commonly it would have the layout seen in the image above. (Again, these splash page layouts are seen so often that providing them with a name seems a good idea; I will use square splash for those with the story panels arranged horizontally and vertical splash for when the story panels are arranged vertically.) While working in the Simon and Kirby studio Mort did his own inking. Generally this included spotting formed by long parallel, sometimes overlapping, groups of lines. Occasionally, as in “I Own This Man” Meskin would use picket fence crosshatching similar to that found in the Studio style. (For a more complete discussion of Mort Meskin’s inking technique see my post Kirby Inkers, Mort Meskin, for an explanation of the terms I am using to describe inking techniques see the Inking Glossary). My search of Meskin’s work prior to joining Simon and Kirby have so far failed to uncover any examples of the use of picket fence crosshatching so Mort may have adopted it up from Joe and Jack.


Young Love #8 (April 1950) “Danger, Soft Shoulder” page 8, art by Mort Meskin

Mort Meskin’s art was more subdued compared to his earlier hero genre comic art. Some of the more dramatic compositional devices would largely disappear. Techniques, such as the mass of floating heads used in the third panel of page 8 of “Danger, Soft Shoulder”, would now be the rare exception in Mort’s work. Instead, like Bill Draut, Meskin would concentrate more on graphically telling a story. Few other artists, if any, could do it better. Unfortunately for Mort Meskin’s current reputation, it is all too easy to overlook what he was doing. Also it should be admitted that Meskin’s art was not consistently at the same high level, perhaps a result from his push to achieve a high page production rate (with a corresponding income boost).


Young Romance #19 (March 1950) “The Fisherman’s Daughter” page 2, art by Mort Meskin

But it would be mistake to say that now Mort was only interested in telling a story. Mort was also a master at his use of blacks. The shadows found in the first panel of the page from “The Fisherman’s Daughter” shown above are very effective. Even when blacks are used in more limited amounts that are carefully placed to provide the most impact as can be seen elsewhere on the page and the fifth panel in particular. In a way though, Meskin’s use of whites and blacks was not separate aspect of his work. It was carefully used as one of Mort’s tools for advancing the story.

At this time Mort was also working primarily in the standard six panel page layout. But he would use other design techniques to add interest. Note the use of vertical caption boxes on the page shown above. Mort sets up a pattern of vertical captions for the left edge of the first and third panel rows, and the center of the second row. This while using horizontal captions in the second part of the first and third rows. It all provides a pattern that helps to pull the page together without being obtrusive.


Young Romance #17 (January 1950) “Love’s Little Teacher”, art by Bruno Premiani?

I may not be able to truly show that this artist is Bruno Premiani but he is a great creator nonetheless. The splash here is unusual for him in that he provides a split scene. It is so well integrated that it is easy to overlook two separate views are presented. I have described Premiani’s women as attractive but not striking. But in the end to understand an artist’s style well enough to identify his work requires seeing enough examples. So as I continue with work on this serial post I will include further samples of the more important Simon and Kirby studio artists.


Young Romance #17 (January 1950) “Love’s Little Teacher” page 5, art by Bruno Premiani?

Bruno had an interesting drawing style but he was also, like most of S&K studio artists, adept at graphically telling a story. The page from “Love’s Little Teacher” opens with a couple’s kiss, usually more properly placed as the last panel on a page. But Premiani has other things in mind as he proceeded to show the protagonist following the advice of her cousin. Premiani indicates to the reader that the cousin is secretly scheming by the pose he provides her in the background of the final panel. Evidentially Bruno is not just following some formula but carefully brackets the cousin’s influence between the love scene in the first panel and the misguided rejection of a date in the last. I particularly like the fifth panel with the man shown calling in the caption box and the close-up of the telephone receiving the call in the actual panel. With Premiani’s careful arrangement of the towel on the leading lady, the depiction really is not very revealing but just seems so.


Young Romance #17 (January 1950) “I Want Him Back”, art by Leonard Starr

When I first entered the Simon and Kirby productions into my database I was not that familiar with Leonard Starr’s style and so it was largely stories with a signature that ended up attributed to him. Unfortunately this made Starr seem like a minor contributor since, like most Simon and Kirby studio artists, he did not sign all his art. With my current reviews and armed with a better understanding, I have been adding a number of unsigned stories as works that can be credited to Starr. I have long stressed the importance to the studio of three artists (the usual suspects: Draut, Meskin and Prentice) but there is also a second tier of artists who made an important contribution to Simon and Kirby productions but only for shorter periods of time. I would put Starr in this second tier along with artists like Premiani?, Severin, Donahue, Albistur and Brewster.

Leonard did 4 stories with 33 pages during this period. All were unsigned but with styles that are in complete agreement with contemporary signed work. Starr’s splashes were either the square or vertical layouts with, perhaps, a preference for the vertical format as seen above in “I Want Him Back”. It is the drawings of woman that I find the greatest help in identifying Starr’s work. They have an appearance that is almost frail with generous foreheads, small mouths, and narrow chins giving them a look I often describe as elfin.


Young Romance #18 (February 1950) “Mother Tags Along” page 4, art by Leonard Starr

While I would not call Starr’s splashes spectacular they were well done. But it is his story art were Leonard really shines. Like some of the other studio artists, Starr would carefully vary the view point to keep the pages interesting and the story progressing. What makes Starr unique among the S&K studio artists at this time are his panel layouts. More then any of the other artists, Starr would break from the standard page layout of three rows with two panels per row. Instead Leonard preferred to introduced, when possible, a row of three panels with an extended height. Sometimes this was achieved by switching to a page layout of two rows with three panels per row. More frequently the greater height provided for one row would be compensated by decreasing the vertical dimensions of the remaining two rows. These panel layouts did more then provide interesting pages as Starr would use it to aid the story telling. Note how in the page from “Mother Tags Along” Leonard uses the narrow panels for the meeting of the two lovers physically bringing them close together while the more horizontal panels are used the woman’s discussion with her mother allowing the distance that is possible in these panels to suggest the emotional separation between them. No other studio artist at this time made such effective use of panel shapes although Mort Meskin would soon begin to use narrow panels as well.


Young Love #7 (February 1950) “A Secret Affair” page 7, art by Vic Donahue

Vic Donahue’s contribution to the standard romances diminished in the previous chapter and this state continues here. There is a difference though; in Chapter 9 Vic work was restricted to the Nancy Hale feature which was 2 or 3 pages long. During this period the Nancy Hale feature was drawn by other artists. Instead Donahue would draw 1 story and 2 short features with a total of 10 pages which was well below artists like Meskin, Premiani? or Starr.

I have included the above story page to show that while Donahue was not as talented as some of the other studio artists; he was more varied in his panel layouts. I feel, however, that the handling of the story leaves a bit to be desired. For instance this page ends with one man’s confrontation with a rival. Since the last panel depicts such a critical moment the reader would expect the next page to show the result of this confrontation, perhaps even a fight. There was a fight of sorts, but at the start of the next page it is all over with the original man already defeated and on the ground! We really do not know anything about the scripts given to studio artists or how carefully they were expected to be followed, so I cannot say whether Donahue or the writer is responsible for this rather poor handling of what should have been a dramatic scene.


Young Love #8 (April 1950) “The Man in My Dreams”, art by John Severin and Jack Kirby

While Jack Kirby did not supply layouts for any of the artists during this period, there is at least one example of his assuming the roll of art editor. The man in the splash panel of “The Man in My Dreams” is clearly penciled by Kirby, and I believe inked as well. This is the second case of Kirby adding to or altering a splash by John Severin that I have seen (the other was in Chapter 7). If, as I believe, Kirby inked his part of the splash then most likely Kirby was correcting Severin’s finished art.

During this period Severin played a small roll in the standard romance titles. John only did 1 story and 3 features with a total of 8 pages. This is in sharp contrast to the amount of work Severin had done during this same time for the Prize western love titles.

Chapter 1, A New Genre (YR #1 – #4)
Chapter 2, Early Artists (YR #1 – #4)
Chapter 3, The Field No Longer Their’s Alone (YR #5 – #8)
Chapter 4, An Explosion of Romance (YR #9 – #12, YL #1 – #4)
Chapter 5, New Talent (YR #9 – 12, YL #1 – #4)
Chapter 6, Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 7, More Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 8, Kirby on the Range? (RWR #1 – #7, WL #1 – #6)
Chapter 9, More Romance (YR #13 – #16, YL #5 – #6)
Chapter 10, The Peak of the Love Glut (YR #17 – #20, YL #7 – #8)
Chapter 11, After the Glut (YR #21 – #23, YL #9 – #10)
Chapter 12, A Smaller Studio (YR #24 – #26, YL #12 – #14)
Chapter 13, Romance Bottoms Out (YR #27 – #29, YL #15 – #17)
Chapter 14, The Third Suspect (YR #30 – #32, YL #18 – #20)
Chapter 15, The Action of Romance (YR #33 – #35, YL #21 – #23)
Chapter 16, Someone Old and Someone New (YR #36 – #38, YL #24 – #26)
Chapter 17, The Assistant (YR #39 – #41, YL #27 – #29)
Chapter 18, Meskin Takes Over (YR #42 – #44, YL #30 – #32)
Chapter 19, More Artists (YR #45 – #47, YL #33 – #35)
Chapter 20, Romance Still Matters (YR #48 – #50, YL #36 – #38, YB #1)
Chapter 21, Roussos Messes Up (YR #51 – #53, YL #39 – #41, YB #2 – 3)
Chapter 22, He’s the Man (YR #54 – #56, YL #42 – #44, YB #4)
Chapter 23, New Ways of Doing Things (YR #57 – #59, YL #45 – #47, YB #5 – #6)
Chapter 24, A New Artist (YR #60 – #62, YL #48 – #50, YB #7 – #8)
Chapter 25, More New Faces (YR #63 – #65, YLe #51 – #53, YB #9 – #11)
Chapter 26, Goodbye Jack (YR #66 – #68, YL #54 – #56, YB #12 – #14)
Chapter 27, The Return of Mort (YR #69 – #71, YL #57 – #59, YB #15 – #17)
Chapter 28, A Glut of Artists (YR #72 – #74, YL #60 – #62, YB #18 & #19, IL #1 & #2)
Chapter 29, Trouble Begins (YR #75 – #77, YL #63 – #65, YB #20 – #22, IL #3 – #5)
Chapter 30, Transition (YR #78 – #80, YL #66 – #68, YBs #23 – #25, IL #6, ILY #7)
Chapter 30, Appendix (YB #23)
Chapter 31, Kirby, Kirby and More Kirby (YR #81 – #82, YL #69 – #70, YB #26 – #27)
Chapter 32, The Kirby Beat Goes On (YR #83 – #84, YL #71 – #72, YB #28 – #29)
Chapter 33, End of an Era (YR #85 – #87, YL #73, YB #30, AFL #1)
Chapter 34, A New Prize Title (YR #88 – #91, AFL #2 – #5, PL #1 – #2)
Chapter 35, Settling In ( YR #92 – #94, AFL #6 – #8, PL #3 – #5)
Appendix, J.O. Is Joe Orlando
Chapter 36, More Kirby (YR #95 – #97, AFL #9 – #11, PL #6 – #8)
Chapter 37, Some Surprises (YR #98 – #100, AFL #12 – #14, PL #9 – #11)
Chapter 38, All Things Must End (YR #101 – #103, AFL #15 – #17, PL #12 – #14)

The Art of Romance, Chapter 9, More Romance

(Young Romance #13 – #16, Young Love #5 – #6)


Chart of the number of romance titles from September 1947 to December 1950 with the period covered in this chapter marked in blue.

My discussions of Young Romance and Young Love were left off in Chapter 5 after which I then spent the next three chapters on Simon and Kirby’s two western romances titles Real West Romance and Western Love. Returning to Simon and Kirby’s purer romance titles, Young Romance was starting its third year. Previously Young Romance and the newer Young Love were both bimonthlies on an alternating schedule so that one would appear on the stands each month. With the Young Romance #13 issue (September 1949) that title would now become a monthly. The house ad announcing this new schedule declared there were three and a half million readers. An exaggeration? Perhaps, but this was the golden age of comics and readerships were much larger then found today. Taking Young Romance to monthly schedule clearly indicates that Prize was doing quite well with that title. Since the deal with Prize provided Simon and Kirby with a percentage of the sales, the creative duo were receiving great financial benefits. There was competition, however, as September 1949 was well into the start of the love glut.


Young Romance #15 (November 1949) “Back Door Love”, art by Jack Kirby

For whatever reason, Jack Kirby was not that prolific during the period covered in this chapter (September to December 1949). The covers for YR and YL were all photographs and so Jack would not be providing any covers. Kirby would supply a single story for YR #13 to #15, two for YR #16, and none for YL #5 or #6. His diminished presence in YR and YL was also true for the other Simon and Kirby titles (Headline, Justice Traps the Guilty, Real West Romance and Western Love). While Jack may not have been his usual prolific self he still was an important contributor to the two romance titles. Kirby would provide the lead story for Young Romance and while these stories may not have been as long as some from the past they still had the highest page count compared to any others in the same issue. So while there were two artists that provided more stories then Jack only one of them actually drew more pages. For the record Jack did 5 stories and 58 pages for the 6 issues. Unlike the case found in previous chapters of “The Art of Romance”, or even “Its A Crime”, I conclude that Kirby did not provide layouts to any of the other artists in these issues.

Jack provided great splashes for all the lead stories for YR #13 to #16. All made use of the motif of a character introducing the story with the word balloon forming the title. All lead stories were meant to suggest provocative themes as can be seen by their titles alone (“Sailor’s Girl”, “Runaway Bride”, “Back Door Love” and “Dance Hall Pick-Up”). Today they might seem tame but in the late ’40s they would be considered risque. I have chosen two of them as examples not only because they are the best but also because of their contrasting nature. The splash for “Back Door Love” shows a couple on one side, a large word balloon/title, and three overlapping panels crowded into another corner. The panels are not the beginning of the story, but rather provide examples of the shameful love and its emotional price the woman has to pay. The couple was inked in the standard Studio style with abundant picket fence crosshatching and drop strings (see my Inking Glossary for explanations of my terms to describe inking techniques). This was overlaid with much relatively fine simple and more complicated crosshatching; techniques not commonly found in Simon and Kirby art. The inking is meant to provide the couple with a nighttime setting which is enhanced by the colorist blocking them out in a light blue. While the woman’s face turned to the viewer (I do not understand why many do not find Kirby’s woman beautiful) the man’s remains concealed in the shadows; all in keeping with the mystery of their relationship. Not much in the way of action, but one of Kirby’s more interesting splashes nonetheless. However there is a “but”; while some like comic art with a lot of detail work, I generally do not. I find all the crosshatching in this splash gives the figures a hard edge, almost like they were carved out of stone and are not flesh and blood. A small detraction from what was otherwise a masterpiece.


Young Romance #16 (December 1949) “Dance Hall Pickup”, art by Jack Kirby

Shame was the theme for the splash of “Dance Hall Pickup” as well, but its similarity to the “Back Door Love” splash pretty much ends there. This time it is the man’s turn to be found in a shameful relationship. Nothing mysterious here, everything is in full lighting. The woman’s low cut dress, fake flowers on her belt, costume jewelry, and false eyelashes clearly mark her as the type of woman a gentleman would be uncomfortable with bringing home to meet his mother. Of course the story will reveal that the somewhat trashy appearance of the woman really hides a warm and loving heart. The inking for this splash is truly a text book example of Studio style inking. It has all the typical hallmarks; lots of picket fence crosshatching and drop strings along with an abstract arch shadow and shoulder blots for the man. No fastidious brushwork here, each stroke is boldly marked; straddling the boundary between working with others for indicating the shadows and maintaining an independent existence. Most fans are attracted to his action scenes but for me this is Kirby at his best; telling a complete story with just some simple gestures and some abstract marks.

I cannot leave this splash without pointing out the hanging curtain in the top corner. It serves no logical purpose. The windows in the back are complete bare, so why is that drapery hanging from the ceiling in the middle of a dance floor in front of a pillar? It is a mistake to look at Kirby art, or any comic book art, as if it was an attempt at rendering a truly realistic image. Elements are added for their suggestive power and how they provide visual interest. The hanging curtain is a motif that Jack will use often.


Young Romance #16 (December 1949) “The Wolves of the City”, art by Bill Draut

The largest contributor to YR #13 – #16 and YL #5 and #6 was Bill Draut. Bill did twice as many stories compared to Kirby (10 vs. 5) and 10 more pages (68 vs. 58). Bill’s strength was his clear visual story telling and his effective use of body language. The simplicity of faces drawn by Bill did not lend itself to a wide range of emotions. Perhaps that is why Draut was very careful in the poses he provided his characters. Upturn faces could portray admiration or wonderment. Thrusting the head forward and providing clenched fists would reveal a person’s anger. In the splash for “The Wolves of the City” you do not need to read the story to realize how demure and proper the lady on our right is. Hands folded on her lap and eyes cast down tell it all. Her friend has her hand on her hip, the way her head pushed forward, and even the way she holds her cigarette shows she has a harsh and sharp personality. Despite the similar profiles, she presents quite a contrast to the mother figure from the second story panel.


Young Love #6 (December 1949) “For Handsome Men Only”, art by Bruno Premiani?

The third most prolific artist for the issues cover in this chapter was possibly Bruno Premiani. I say possibly because none of the work this artist did for Simon and Kirby was signed and none of it compares well with work done for DC that has been credited to Premiani. Either the attribution of this work to Premiani is wrong or he adopted a different style for romance compared to his superhero comic book art. Whoever the artist is, and for now I continue to refer to him as Premiani, he was one of the more talented individuals to have worked for Joe and Jack. Bruno first showed up in Young Love #4 (August 1949) and would provide work to the S&K studio until December 1950). During that period of a little over a year, Simon and Kirby would include about 25 stories by Premiani. For the issues covered in this chapter, Bruno did 6 stores (one more then Kirby) for a total of 48 pages (much less then Jack’s 58 pages). One of the stories supplied by Bruno was even used for the all importing lead story (the “For Handsome Men Only” shown above). It is easy to see why Premiani was used so often. Although his woman are perhaps a little plainer then some other studio artists, they (and the men as well) seem to radiate an emotional energy. Like Draut, Premiani could make effective use of body language as well. The hands on the hip and face in profile as superficially similar to Draut’s pose in “The Wolves of the City”. But by pulling the head back and thrusting one leg forward, Bruno makes his protagonist much more alluring. In the second panel the lady ostensibly uses her hand to keep her scarf in place but the gesture is actually part of a physical withdrawal from a disappointing blind date.


Young Romance #14 (October 1949) “Nancy Hale’s Problem Clinic” page 2, art by Vic Donahue

There were a number of other artists who contributed to these issues of YR and YL but nowhere nearly as much as Draut, Kirby or Premiani. One was Vic Donahue who we have seen in previous chapters of “The Art of Romance” both for the standard romance as well as the western love titles. Vic’s work for the issues covered her has diminished and is restricted to three “Nancy Hale’s Problem Clinic” features. These are all short work of 2 or 3 pages long. There is no more I can add to my previous discussions of Donahue; his woman are attractive and Vic often provided them with a tilt to the head. Vic was careful in the inking of hair and he sometimes filled shadows with fine simple hatching. Aspects of the Studio style inking also show up in his work. The page above shows drop strings (panel 1 and 3), shoulder blots (panel 3), an abstract arch shadow (panel 6) and picket fence crosshatching (panels 4, 6 and 7). I am still undecided whether this was Joe or Jack stepping in as art editor to strengthen up the work. Alternatively is may have been Vic adopting portions of the Studio style. Joe Simon has described the inking of Kirby’s pencils as being like a factory line involving many different inkers. Although I cannot point to any specific work by Kirby that Donahue could have inked, as one of the more minor but still talented artists continually employed by S&K Vic certainly was a candidate to help in inking.


Young Love #5 (October 1949) “For Sale: One Dream”, art by Al Eadeh and John Belfi?

Another minor contributor, or rather an artist team, that we have seen before was Al Eadeh and John Belfi. The work is unsigned and my attribution provisionally, but I believe Eadeh and Belfi did “For Sale: One Dream”. While talented, Eadeh and Belfi were still among the lesser lights of the S&K studio.


Young Love #5 (October 1949) “The Love I Didn’t Want”, art by George Gregg

Signatures found in three comics (Young Love #4 and Justice Traps the Guilty #17 and 19) have allowed me to identify one of Simon and Kirby’s studio artists, George Gregg. Since then I have spotted an unsigned work in Western Love #1 and here I can add two more. Even without a signature, Gregg’s style still stands out. His art has a sort of stylized cartoony edge to it and frankly a touch of primitivism. Gregg’s often provides his characters with distinctive, but varied eyebrows. The leading ladies frequently have a pinched look to their faces. While “The Love I Didn’t Want” is no masterpiece, it is still nice to be able to assign a name to some of work produced by the Simon and Kirby studio.

Young Love #6
Young Love #6 (December 1949) “My Promise”, art by George Gregg with help from Jack Kirby in splash panel

“My Promise” is another unsigned work by George Gregg. The Jack Kirby Checklist includes the splash as being done by Kirby. While it is true man was clearly done by Jack, the rest of the splash and the story panels were by Gregg alone. This is another example of Kirby acting as art editor stepping in to help the all important splash. I believe the man in the splash was inked by Jack as well, but he is deliberately working in a simpler manner to blend in better with Gregg’s inking. Careful examination, however, will show that Jack’s brush has a subtlety that was beyond Gregg’s capabilities. The over sized ear in the second story panel was a mannerism that Kirby often fell into, particularly on work done before he went into military service (for Timely and DC). This suggests that Gregg may have been using old Simon and Kirby comics as source material for swiping.

Young Love #5
Young Love #5 (October 1949) “Too Many Boy Friends”, art by Ann Brewster

New to Simon and Kirby production is the artist Ann Brewster. S&K must have like her work because they used her first submission, “Too Many Boy Friends”, as the lead story for Young Love #5. I am not sure that “first” is the proper description. I do not believe there were any earlier works for Simon and Kirby but I am unaware of any other works by Ann from this period either. In 1955 Ann would provide a number of stories for the Prize romance titles during the time when Joe and Jack were trying to get their own publishing company, Mainline, going.

When I previously discussed this splash, I thought that this might have been delivered as pencils and inked in the S&K studio. That conclusion was largely due to the presence of Studio style inking throughout the story. However, I no longer hold that viewpoint. There appears to be at least two inkers involved. One, Ann herself, working with a fine brush and another inker, probably Joe or Jack) working with a broader, more loaded, brush. The Studio style inking was probably added later to strengthen the art.


Young Love #6 (December 1949) “The Life of the Party”, art by John Guinta and Manny Stallman

Another new team to appear was John Guinta and Manny Stallman. Fortunately the work is signed because I am completely unfamiliar with John Guinta’s work. Manny Stallman has done his own penciling for Simon and Kirby primarily in the crime titles (not yet covered by my serial post “It’s A Crime”) but also in Western Love #1 (July 1949). “The Life of the Party” is the only story that I know that they did for S&K but perhaps more will show up.

The art for Guinta and Stallman’s “The Life of the Party” is good, but I am particularly impressed by the splash panel. It actually is two splash panels as neither of the top panels belong to the story proper. Floating heads are not used often by Simon and Kirby but they do occur. However I do not recall any of theirs approaching the avalanche of heads as produced here by Guinta and Stallman. I particularly like the way they spill from the right panel into the left with the gutter bisecting two heads. While I attribute most of this to work to John and Manny, I wonder about the single head at the center bottom of the panel. It is the only head without hair and the uppermost contour looks decidedly unnatural; almost as if it was cut from some other work. I cannot help but wonder if that one head was actually done by Jack Kirby. Perhaps, though, this is due to the inking with its aspects of Studio style. This was probably done by either Joe or Jack as most of the story is inked in a different style. Again the presence of places with Studio style inking in the story probably is due to Joe or Jack stepping in to strengthen the art.


Young Romance #16 (December 1949) “His Engagement Ring”, art by Mort Meskin

Young Romance #16 marked the return of an important artist Mort Meskin. Perhaps return is not the proper word as a little over a year ago he had appeared teamed up with Jerry Robinson. In the same month of December 1949 Mort also appeared in Real West Romance #5. Joe Simon has described in his book “The Comic Book Makers” the difficulties Meskin faced overcoming the artist’s equivalent of the writer’s block. However once this problem was passed, Mort became the most prolific of the Simon and Kirby studio artists. There were periods when he out produced Jack Kirby (no small feat) despite the fact that Mort would do all his own inking while Kirby often was inked by others. During his career, Mort was much admired by many of his fellow artists including Jerry Robinson, Joe Simon and Steve Ditko. Unfortunately today he is largely overlooked among comic book fans failing even to be voted into the Will Eisner Awards’ Hall of Fame. Partly this is due to the stylized drawing that Meskin adopted. Also a lot of his later work was done for Simon and Kirby romance titles; a genre not much appreciated among today’s fans. Perhaps the most important reason was that Meskin dropped out of comics in the late ’50s and afterwards avoided any contact with fans. However Mort was one of the best graphic story tellers from the golden age of comics. Meskin’s skill in presenting a story is easy to overlook due to the unobtrusive methods he used. Probably the only thing I can say against Meskin as an artist was that his work sometimes suffered from his efforts to produce lots of work.

The splash page for “His Engagement Ring” uses a layout that Meskin typically preferred; two thirds of the page for the splash panel with two or three story panels at the bottom of the page. It is a common layout used by many artists but different from the layout most frequently used when teamed up with Robinson which had a vertical splash panel with two story panels on the right side of the page.

The December issue of Young Romance was released just a few months prior to the peak of the love glut. The rise in the number of romance titles in such a short period was nothing short of dramatic. The decline following the peak was almost as rapid when publishers found that there just was not enough room on comic racks for all the new titles.

Chapter 1, A New Genre (YR #1 – #4)
Chapter 2, Early Artists (YR #1 – #4)
Chapter 3, The Field No Longer Their’s Alone (YR #5 – #8)
Chapter 4, An Explosion of Romance (YR #9 – #12, YL #1 – #4)
Chapter 5, New Talent (YR #9 – 12, YL #1 – #4)
Chapter 6, Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 7, More Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 8, Kirby on the Range? (RWR #1 – #7, WL #1 – #6)
Chapter 9, More Romance (YR #13 – #16, YL #5 – #6)
Chapter 10, The Peak of the Love Glut (YR #17 – #20, YL #7 – #8)
Chapter 11, After the Glut (YR #21 – #23, YL #9 – #10)
Chapter 12, A Smaller Studio (YR #24 – #26, YL #12 – #14)
Chapter 13, Romance Bottoms Out (YR #27 – #29, YL #15 – #17)
Chapter 14, The Third Suspect (YR #30 – #32, YL #18 – #20)
Chapter 15, The Action of Romance (YR #33 – #35, YL #21 – #23)
Chapter 16, Someone Old and Someone New (YR #36 – #38, YL #24 – #26)
Chapter 17, The Assistant (YR #39 – #41, YL #27 – #29)
Chapter 18, Meskin Takes Over (YR #42 – #44, YL #30 – #32)
Chapter 19, More Artists (YR #45 – #47, YL #33 – #35)
Chapter 20, Romance Still Matters (YR #48 – #50, YL #36 – #38, YB #1)
Chapter 21, Roussos Messes Up (YR #51 – #53, YL #39 – #41, YB #2 – 3)
Chapter 22, He’s the Man (YR #54 – #56, YL #42 – #44, YB #4)
Chapter 23, New Ways of Doing Things (YR #57 – #59, YL #45 – #47, YB #5 – #6)
Chapter 24, A New Artist (YR #60 – #62, YL #48 – #50, YB #7 – #8)
Chapter 25, More New Faces (YR #63 – #65, YLe #51 – #53, YB #9 – #11)
Chapter 26, Goodbye Jack (YR #66 – #68, YL #54 – #56, YB #12 – #14)
Chapter 27, The Return of Mort (YR #69 – #71, YL #57 – #59, YB #15 – #17)
Chapter 28, A Glut of Artists (YR #72 – #74, YL #60 – #62, YB #18 & #19, IL #1 & #2)
Chapter 29, Trouble Begins (YR #75 – #77, YL #63 – #65, YB #20 – #22, IL #3 – #5)
Chapter 30, Transition (YR #78 – #80, YL #66 – #68, YBs #23 – #25, IL #6, ILY #7)
Chapter 30, Appendix (YB #23)
Chapter 31, Kirby, Kirby and More Kirby (YR #81 – #82, YL #69 – #70, YB #26 – #27)
Chapter 32, The Kirby Beat Goes On (YR #83 – #84, YL #71 – #72, YB #28 – #29)
Chapter 33, End of an Era (YR #85 – #87, YL #73, YB #30, AFL #1)
Chapter 34, A New Prize Title (YR #88 – #91, AFL #2 – #5, PL #1 – #2)
Chapter 35, Settling In ( YR #92 – #94, AFL #6 – #8, PL #3 – #5)
Appendix, J.O. Is Joe Orlando
Chapter 36, More Kirby (YR #95 – #97, AFL #9 – #11, PL #6 – #8)
Chapter 37, Some Surprises (YR #98 – #100, AFL #12 – #14, PL #9 – #11)
Chapter 38, All Things Must End (YR #101 – #103, AFL #15 – #17, PL #12 – #14)

Young Romance Checklist


Last update: 11/20/2010

Codes:
    r:  = reprint
    s:  = script
    l:  = layout
    p:  = pencils
    i:  = inks
  name  = signed
 <name> = signed with an alias
 {name} = signed as Simon & Kirby
 [name] = unsigned attribution



Young Romance (Prize)
  1 (v.1, n.1) September 1947
    (cover) - P:[Kirby] I:[Kirby]
    "I Was A Pick-Up" 13 pg - P:[Kirby] I:[Kirby & Simon]
    "The Farmer's Wife" 8 pg - P:[Draut] I:[Draut]
    "Misguided Heart" 7 pg - P:[Kirby]  
    "Diary of a Doubtful Damsel" 2 pg -  - (text)
    "The Plight Of The Suspicious Bridegroom" 7 pg - P:[Draut] I:[Draut]
    "Summer Song" 8 pg - Ly:[Kirby] P:[Kirby & ?]  
  2 (v.1, n.2) November 1947
    (cover) - P:[Kirby]  
    "Boy Crazy" 14 pg - P:[Kirby]  
    "My Broken Heart" 7 pg - P:[Draut] I:[Draut]
    "Dangerous Romance" 7 pg - Ly:[Kirby?] P:[?]  
    "15:30 AM" 2 pg -  - (text)
    "The Poorest Girl In The World" 7 pg - P:[Draut] I:[Draut]
    "Her Tragic Love" 8 pg - P:[Kirby]  
  3 (v.1, n.3) January 1948
    (cover) - P:[Kirby]  
    "Marriage Contract" 13 pg - P:{Kirby}  
    "Campus Outcast" 7 pg - P:[Draut] I:[Draut]
    "Her Best Friend's Sweetheart" 8 pg - P:{Kirby}  
    "A Nice Point of Law" 2 pg -  - (text)
    "Love Or A Career" 8 pg - P:[Robinson & Meskin]  
    "Man-Hater" 7 pg - P:{Kirby}  
  4 (v.1, n.4) March 1948
    (cover) - P:{Kirby}  
    "Blind Date" 11 pg - P:[Kirby]  
    "Guilty" 8 pg - P:[Draut] I:[Draut]
    "I Love You Frank Gerard" 8 pg - P:[Robinson & Meskin]  
    "You're So Subtle, Baby" 2 pg -  - (text)
    "Her Rival" 7 pg - P:Draut I:[Draut]
    "Fraulein Sweetheart" 9 pg - W:Oleck P:[Kirby]  
  5 (v.1, n.5) May 1948
    (cover) - P:{Kirby}  
    "I Fell In Love With My Star Pupil" 13 pg - P:{Kirby}  
    "Substitute Sweetheart" 7 pg - P:[Draut] I:[Draut]
    "Shame" 7 pg - P:{Kirby}  
    "The Bachelor and the Baby-Sitter" 2 pg -  - (text)
    "Jealousy" 7 pg - P:[Robinson & Meskin]  
    "Gold Digger" 9 pg - P:{Kirby}  
  6 (v.1, n.6) July 1948
    (cover) - P:{Kirby}  
    "Disgrace" 14 pg - P:[Kirby]  
    "Friend Of The Family" 8 pg - P:Draut I:[Draut]
    "The Love That Might Have Been" 7 pg - P:[Robinson & Meskin]  
    "Bachelor Girl" 2 pg -  - (text)
    "The Inferior Male" 8 pg - P:Robinson & Meskin  
    "Gossip" 7 pg - P:Draut I:[Draut]
  7 (v.2, n.1) September 1948
    (cover) - P:[Kirby]  
    "War Bride" 13 pg - P:{Kirby}  
    "I'll Get Him Back" 8 pg - P:[Draut] I:[Draut]
    "Mother Said No" 6 pg - P:[Kirby] I:[Broderick]
    "Troubles of a Troubadour" 2 pg -  - (text)
    "Love On The Rebound" 8 pg - P:Draut I:[Draut]
    "I Stole For Love" 8 pg - P:{Kirby}  
  8 (v.2, n.2) November 1948
    (cover) - P:{Kirby}  
    "Love Or Pity" 14 pg - P:[Kirby]  
    "Fortune Hunter" 6 pg - P:[Draut] I:[Draut]
    "My Big Sister's Beau" 6 pg - P:[Kirby]  
    "A Lesson In Strategy" 2 pg -  - (text)
    "To Love Again" 8 pg - P:[Draut] I:[Draut]
    "Love Can Strike So Suddenly" 9 pg - P:[Kirby]  
  9 (v.2, n.3) January 1949
    (cover) - P:{Kirby}  
    "Was Love To Be My Sacrifice" 15 pg - P:[Kirby]  
    "Good Manners" 1 pg -  - (text)
    "The Lie I Lived" 9 pg - P:[Draut] I:[Draut]
    "The Easy Life" 8 pg - P:[Kirby] I:[Simon]
    "The Both Got There" 2 pg -  - (text)
    "Last Chance For Love" 9 pg - P:[Draut] I:[Draut]
  10 (v.2, n.4) March 1949
    (cover) - P:{Kirby}  
    "Mama's Boy" 13 pg - P:{Kirby}  
    "Shadows" 8 pg - P:Draut I:[Draut]
    "Unwanted" 8 pg - P:[Kirby]  
    "Hip, Hip, Away" 1 pg - P:[Draut] I:[Draut]
    "Dr. Biggers Prescription" 2 pg -  - (text)
    "Heart's Desire" 7 pg - P:Eadeh I:Belfi
    "Husband Hunter" 8 pg - P:[Draut] I:[Draut]
  11 (v.2, n.5) May 1949
    (cover) - P:{Kirby}  
    "The Town And Toni Benson" 15 pg - P:{Kirby}  
    "The Language Of Love" 8 pg - P:[Draut] I:[Draut]
    "My Father's New Wife" 7 pg - P:[Eadeh] I:[Belfi]
    "Second Chance for Love" 2 pg - P:[Draut] I:[Draut]- (illustrated text)
    "Problem Clinic" 3 pg - P:[Donahue]  
    "Big City Girl" 8 pg - P:Starr  
  12 (v.2, n.6) July 1949
    (cover) - P:[Kirby]  
    "The Man I Kept On A String" 8 pg - P:[Draut] I:[Draut]
    "If You Want Me" 11 pg - P:[Kirby]  
    "For Somebody Else" 6 pg - P:[Eadeh] I:[Belfi]
    "Problem Clinic" 2 pg - P:[Draut] I:[Draut]
    "One Romantic Adventure" 2 pg - P:[Kirby]  - (illustrated text)
    "Girl Shy" 8 pg - P:[Draut] I:[Draut]
    "Undesirable" 7 pg - P:[Eadeh?] I:[Belfi?]
  13 (v.3, n.1) September 1949
    (cover) - P:Photo  
    "Sailor's Girl" 14 pg - P:[Kirby]  
    "Daughter Of Misfortune" 8 pg - P:[Draut] I:[Draut]
    "Friends, Lovers No More" 9 pg -  
    "Problem Clinic" 2 pg - P:Donahue  
    "To A Lovely Lady" 2 pg -  - (illustrated text)
    "Good Scout" 8 pg - P:[Draut] I:[Draut]
  14 (v.3, n.2) October 1949
    (cover) - P:Photo  
    "Runaway Bride" 12 pg - P:[Kirby]  
    "No Prescription For Love" 9 pg - P:[Draut] I:[Draut]
    "'The Man For Us" 8 pg - P:[Premiani]  
    "Problem Clinic" 3 pg - P:Donahue  
    "Good Manners" 1 pg - P:[Donahue & Draut]  - (illustrated letters column)
    "Cruise to Romance" 2 pg -  - (illustrated text)
    "The Barrier Between Us" 8 pg - P:[Draut] I:[Draut]
  15 (v.3, n.3) November 1949
    (cover) - P:Photo  
    "Back Door Love" 14 pg - P:[Kirby]  
    "Lady, I'll Break You" 7 pg - P:[Premiani]  
    "Deathfed Vow" 9 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 2 pg - P:[Donahue]  
    "No Time For Laughter" 2 pg -  - (illustrated text)
    "Merciless" 10 pg - P:[Premiani]  
  16 (v.3, n.4) December 1949
    (cover) - P:Photo  
    "Dance Hall Pick-Up" 11 pg - P:[Kirby]  
    "The Wolves Of The City" 8 pg - P:[Draut] I:[Draut]
    "The Girl I Left Behind" 7 pg - P:[Kirby]  
    "Janet Loves Janet" 7 pg - P:[Draut] I:[Draut]
    "Good Manners" 1 pg - P:[Draut] I:[Draut]
    "The Beauty Clinic" 1 pg -  - (text)
    "How to Get Over a Broken Heart" 1 pg -  - (text)
    "His Engagement Ring" 7 pg - P:Meskin I:[Meskin]
  17 (v.3, n.5) January 1950
    (cover) - P:Photo  
    "The Girl Who Tempted Me" 15 pg - P:[Kirby]  
    "I Want Him Back" 8 pg - P:[Starr]  
    "Glamour Can Be Yours" 1 pg -  
    "When A Puppy Love Grows Up" 8 pg - P:[Draut] I:[Draut]
    "Love Trouble" 2 pg - P:[Kirby]  - (illustrated text)
    "Problem Clinic" 2 pg - P:[Draut] I:[Draut]
    "Love's Little Teacher" 8 pg - P:[Premiani]  
  18 (v.3, n.6) February 1950
    (cover) - P:Photo  
    "Just No Good" 14 pg - P:[Kirby]  
    "Make Believe Lover" 8 pg - P:[Kirby] I:[Draut]
    "Problem Clinic" 2 pg -  
    "Flight from Love" 2 pg -  - (illustrated text)
    "I Own This Man" 8 pg - P:Meskin I:[Meskin]
    "Mother Tags Along" 9 pg - P:[Starr]  
  19 (v.3, n.7) March 1950
    (cover) -  
    "That Kind Of Girl" 13 pg - P:[Kirby]  
    "The Misfit" 8 pg - P:[Starr]  
    "Tainted" 9 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 3 pg - P:[Eadeh]  
    "The Beauty Clinic" 1 pg - P:[Meskin] I:[Meskin]- (illustrated text)
    "What Men Think About Women" 1 pg - P:[Donahue]  - (illustrated text)
    "The Fisherman's Daughter" 8 pg - P:Meskin I:[Meskin]
  20 (v.3, n.8) April 1950
    (cover) -  
    "Hands Off Lucy" 14 pg - P:[Kirby]  
    "Mad About The Boy" 8 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 2 pg -  
    "Do You Know Your Wolves" 1 pg - P:[Meskin] I:[Meskin]
    "Stop That Complex" 1 pg - P:[Donahue]  - (illustrated text)
    "That Well-Dressed Look" 1 pg - P:[Meskin] I:[Meskin]- (illustrated text)
    "The Prophecy" 6 pg - P:Meskin I:[Meskin]
    "There's Romance In The Stars" 1 pg - P:[Severin]  
    "No Girl Loves A Phony" 10 pg - P:[Premiani]  
  21 (v.3, n.9) May 1950
    (cover) -  
    "I Want Your Man" 14 pg - P:[Kirby]  
    "The Woman Who Lost Him" 8 pg - P:Meskin I:[Meskin]
    "Problem Clinic" 2 pg - P:[Donahue?]  
    "Let's Pretend" 8 pg - P:[Draut] I:[Draut]
    "Age to Marry" 1 pg -  - (text)
    "Be Natural" 1 pg -  - (text)
    "With All My Love" 8 pg - P:[Starr]  
    "There's Romance In The Stars" 1 pg - P:[Severin]  
  22 (v.3, n.10) June 1950
    (cover) -  
    "The Savage In Me" 14 pg - P:[Kirby]  
    "Sister Was A Stinker" 7 pg - P:[Starr]  
    "Is Your Heart Lonely?" 1 pg -  - (text)
    "Child Bride" 8 pg - P:Meskin I:[Meskin]
    "Accent on Accessories" 1 pg -  - (text)
    "Problem Clinic" 2 pg - P:[Donahue?]  
    "I Never See Helen Alone" 7 pg - P:[Premiani]  
    "Change Your Name To Mine" 4 pg -  
  23 (v.3, n.11) July 1950
    (cover) -  
    "Gang Sweetheart" 15 pg - P:[Kirby]  
    "Are You Fickle?" 1 pg -  - (text)
    "A Woman's Honor" 8 pg - P:[Draut] I:[Draut]
    "One Last Fling" 7 pg - P:[Premiani]  
    "Your Manners Are Showing" 1 pg -  - (text)
    "Problem Clinic" 2 pg - P:[Kirby]  
    "Dress Right For Spring" 1 pg - P:[Severin?]  
    "Love On A Budget" 7 pg - P:[Severin]  
  24 (v.3, n.12) August 1950
    (cover) - P:Photo  
    "Buy Me Than Man" 14 pg - P:[Kirby]  
    "Man Bait" 7 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 2 pg - P:[Meskin] I:[Meskin]
    "The Little Things Remind Him Of You" 1 pg - P:[Meskin] I:[Meskin]
    "Can Others See Through You?" 1 pg -  - (text)
    "Danger, Man Trap" 1 pg - P:[Meskin] I:[Meskin]
    "Take A Chance" 8 pg - P:Meskin I:[Meskin]
    "About Your Face" 1 pg -  - (text)
    "Portrait Of A Lady" 8 pg - P:[Premiani]  
  25 (v.4, n.1) September 1950
    (cover) - P:Photo  
    "The Only Man Who Could Thrill Me" 12 pg - P:[Kirby]  
    "Are You Bad for Him?" 1 pg -  - (text)
    "Gentleman For Hire" 7 pg - P:[Draut] I:[Draut]
    "Are You A Gold Digger" 1 pg - P:[Meskin] I:[Meskin]
    "Problem Clinic" 2 pg - P:[Meskin] I:[Meskin]
    "The Doctor's Love" 8 pg - P:[Premiani]  
    "Buying Scents" 1 pg -  - (text)
    "Will You Help Me?" 3 pg - P:[Kirby]  
    "Out Of The Running" 7 pg - P:[Starr]  
  26 (v.4, n.2) October 1950
    (cover) - P:Kirby  
    "Your Money Or Your Love" 12 pg - P:[Kirby]  
    "Let's Have a Good Time" 1 pg -  - (text)
    "The Last Man On Earth" 8 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 2 pg - P:[Meskin] I:[Meskin]
    "Beauty Blemishes" 1 pg -  - (text)
    "Do Something Nice For Your Sweetheart" 1 pg - P:[Meskin] I:[Meskin]
    "Hired Wife" 8 pg - P:[Starr]  
    "Simpson And Delilah" 10 pg - P:[Premiani]  
  27 (v.4, n.3) November 1950
    (cover) - P:[Kirby]  
    "No Man Would Have Me" 12 pg - P:[Kirby]  
    "Heart Of Steel" 5 pg -  
    "My Tormented Heart" 6 pg -  
    "Problem Clinic" 2 pg -  
    "Let's Make One Outfit Do The Work Of Four" 1 pg - P:[Severin]  
    "Getting Along With Men" 1 pg -  - (text)
    "Monahan's Madonna" 6 pg - P:[Draut] I:[Draut]
    "Stay As Sweet As You Are" 1 pg - P:Severin I:Elder
    "The Hands He Loves to Hold" 1 pg -  - (text)
    "Chase Me Till I Catch You" 8 pg - P:[Meskin] I:[Meskin]
  28 (v.4, n.4) December 1950
    (cover) - P:Photo  
    "Hot Rod Crowd" 12 pg - P:[Kirby]  
    "His Father's Son" 7 pg - P:Meskin I:[Meskin]
    "Will You Help Me?" 2 pg - P:[Kirby] I:[Draut]
    "Not Worth The Price" 9 pg - P:[Draut] I:[Draut]
    "Pickups Are Let-Downs" 1 pg -  - (text)
    "Problem Clinic" 1 pg - P:[Kirby]  
    "Be a Bathing Beauty" 1 pg -  - (text)
    "A Shattered Dream" 8 pg - Ly:[Kirby]  
  29 (v.4, n.5) January 1951
    (cover) - P:Photo  
    "You're Not The First" 10 pg - P:[Kirby]  
    "Will You Help Me?" 3 pg - P:[Kirby]  
    "Diagnosis: Love" 7 pg - P:[Meskin] I:[Meskin]
    "Problem Clinic" 2 pg - P:[Kirby]  
    "The Well-Mannered Young Lady" 2 pg -  - (text)
    "Love Also Ran" 8 pg - P:[Draut] I:[Draut]
    "Are You a Martyr?" 8 pg -  - (text)
    "Three's A Crowd" 8 pg - P:Meskin I:[Meskin]
  30 (v.4, n.6) February 1951
    (cover) - P:Photo  
    "Different" 14 pg - P:[Kirby]  
    "Will You Help Me" 2 pg - P:[Draut] I:[Draut]
    "Not Good For Anyone" 8 pg - P:[Draut] I:[Draut]
    "What Should I Do?" 1 pg -  - (text)
    "Weekend For 3" 6 pg - P:[Starr]  
    "Grooming in Public" 1 pg -  - (text)
    "My Lord And Master" 9 pg - P:[Meskin] I:[Meskin]
  31 (v.4, n.7) March 1951
    (cover) - P:Photo  
    "One Way To Hold Him" 12 pg - P:[Kirby]  
    "Raw Deal" 9 pg - P:[Draut] I:[Draut]
    "Will You Help Me" 3 pg - P:[Meskin] I:[Meskin]
    "The Perfect Man" 1 pg -  - (text)
    "My Last Blind Date" 6 pg - P:[Meskin] I:[Meskin]
    "Let's Be Beautiful" 1 pg -  - (text)
    "The Things You're Missing" 8 pg - P:[Stein] I:[Stein]
  32 (v.4, n.8) April 1951
    (cover) - P:Photo  
    "Soldier's Girl" 12 pg - P:[Kirby]  
    "Will You Help Me?" 3 pg - P:[Kirby]  
    "Hand-Me-Down Love" 9 pg - P:[Draut] I:[Draut]
    "The Reluctant Male" 1 pg -  - (text)
    "Painted Woman" 8 pg - P:[Meskin] I:[Meskin]
    "Nobody Loves a Fat Girl" 1 pg -  - (text)
    "The Riddle That Was Gloria" 7 pg - P:Stein I:Stein
  33 (v.4, n.9) May 1951
    (cover) - P:[Kirby]  
    "What's In It For Me?" 10 pg - P:[Kirby]  
    "About That Kiss" 1 pg -  
    "Take A Letter, Darling" 8 pg - P:Meskin I:[Meskin]
    "Early to Wed" 1 pg -  - (text)
    "Not In The Act" 8 pg - P:[Draut] I:[Draut]
    "Will You Help Me" 3 pg -  
    "Meet Spring Halfway" 1 pg -  - (text)
    "Charity Case" 9 pg - P:[Prentice] I:[Prentice]
  34 (v.4, n.10) June 1951
    (cover) - P:Kirby  
    "Old Fashioned Girl" 12 pg - P:[Kirby]  
    "Will You Help Me" 3 pg - P:[Meskin] I:[Meskin]
    "The Other Woman" 8 pg - P:[Draut] I:[Draut]
    "There's Romance In The Stars" 1 pg - Ly:[Kirby]  
    "Take it Easy" 1 pg -  - (text)
    "Whistle Bait" 7 pg - P:[Stein] I:[Stein]
    "Are You A Selfish Girl Friend" 1 pg - P:[Draut] I:[Draut]
    "A Clear Complexion" 1 pg -  - (text)
    "Girl Friday" 7 pg - P:[Meskin] I:[Meskin]
  35 (v.4, n.11) July 1951
    (cover) - P:Photo  
    "Temptations Of A Car Hop" 12 pg - P:[Kirby]  
    "Are You an Imposition?" 1 pg -  - (text)
    "The Man Who Loves Shabby Sally" 7 pg - P:[Meskin] I:[Meskin]
    "Problem Clinic" 2 pg - P:[Draut] I:[Draut]
    "The Man I Married" 9 pg - P:[Prentice] I:[Prentice]
    "Beauty at Home" 1 pg -  - (text)
    "The Catskill Man-Chasers" 9 pg - P:[Meskin] I:[Meskin]
  36 (v.4, n.12) August 1951
    (cover) - P:Photo  
    "Yesterday's Romance" 8 pg - P:[Draut] I:[Draut]
    "Love At Stake" 3 pg - P:[Kirby]  
    "Married In Haste" 9 pg - P:[Draut] I:[Draut]
    "Problem Clinic" 2 pg - P:[Meskin] I:[Meskin]
    "Preview of Marriage" 1 pg -  - (text)
    "Just Good Friends" 8 pg - P:[Donahue]  
    "Handsome Hands and Feet" 1 pg -  - (text)
    "Big Brother Blues" 7 pg - P:[Meskin] I:[Meskin]
  37 (v.5, n.1) September 1951
    (cover) - P:Photo  
    "I'll Never Set You Free" 10 pg - P:[Kirby]  
    "Just To Be Near Him" 9 pg - P:[Meskin] I:[Meskin]
    "These Foolish Things" 6 pg - P:[Kirby]  
    "Let's Look Our Best" 1 pg -  - (text)
    "Problem Clinic" 3 pg - P:[Meskin] I:[Meskin]
    "It's The Little Things" 1 pg -  - (text)
    "The Last Stages Of Love" 9 pg - P:[Prentice] I:[Prentice]
  38 (v.5, n.2) October 1951
    (cover) - P:Photo  
    "Family Trouble" 10 pg - P:[Kirby]  
    "His Dancing Teacher" 7 pg - P:[Meskin] I:[Meskin]
    "A Weighty Problem" 1 pg -  - (text)
    "Problem Clinic" 3 pg - P:[Meskin] I:[Meskin]
    "One Tragic Mistake" 8 pg - P:[Prentice] I:[Prentice]
    "Marriage Now or Later" 1 pg -  - (text)
    "Cagey Mary" 9 pg - P:[Draut] I:[Draut]
  39 (v.5, n.3) November 1951
    (cover) - P:Photo  
    "Too Sweet To Be True" 10 pg - P:[Kirby]  
    "Problem Clinic" 3 pg - P:[Meskin] I:[Meskin]
    "Let's Talk Fashion" 1 pg - P:J. Infantino  
    "Marvin's Pearl" 5 pg - P:[Meskin] I:[Meskin]
    "The Bath Story" 1 pg -  - (text)
    "The Wall Between Us" 9 pg - P:[Draut] I:[Draut]
    "Destination Love" 8 pg - P:[Prentice] I:[Prentice]
    "The Secret of Being Liked" 1 pg - I:[Prentice]- (text)
    "The Way They Met" 1 pg - P:[Meskin] I:[Meskin]
  40 (v.5, n.4) December 1951
    (cover) - P:Photo  
    "Nobody Owns Me" 10 pg - P:[Kirby]  
    "How He Proposed" 1 pg - P:[Draut] I:[Draut]
    "Your Own Apartment" 8 pg - P:[Draut] I:[Draut]
    "Boyfriend Versus Parents" 1 pg -  - (text)
    "The Red Dress" 7 pg - P:Meskin I:[Meskin]
    "Plan Your Wardrobe" 1 pg -  - (text)
    "Problem Clinic" 3 pg - P:[Roussos]  
    "Marriage On A Shoestring" 8 pg - P:[Prentice] I:[Prentice]
  41 (v.5, n.5) January 1952
    (cover) - P:Photo  
    "Dangerous Companion" 12 pg - P:[Kirby]  
    "Problem Clinic" 3 pg - P:[Meskin] I:[Meskin]
    "The Way They Met" 1 pg - P:[Draut] I:[Draut]
    "Baby, It's Cold In Here" 8 pg - P:[Draut] I:[Draut]
    "It's Up To Him" 1 pg -  - (text)
    "The Bashful Type" 4 pg - P:Roussos  
    "What Advice Would You Have Given" 2 pg - P:[Meskin] I:[Meskin]
    "Beauty Is As Beauty Does" 1 pg -  - (text)
    "Kill Her With Kindness" 7 pg - P:[Meskin] I:[Meskin]
  42 (v.5, n.6) February 1952
    (cover) - P:Photo  
    "Miracle For Nancy" 10 pg - P:[Kirby]  
    "The Way They Met" 1 pg - P:[Meskin] I:[Meskin]
    "The Green-Eyed Monster" 7 pg - P:[Meskin] I:[Meskin]
    "Felling Sorry for Yourself?" 1 pg -  - (text)
    "Marion's Husband" 8 pg - P:[Meskin] I:[Meskin]
    "What Advice Would You Have Given" 2 pg - P:[Meskin] I:[Meskin]
    "Home Beauty" 1 pg -  - (text)
    "Big Deal" 9 pg - P:[Draut] I:[Draut]
  43 (v.5, n.7) March 1952
    (cover) - P:Photo  
    "Fool In Love" 10 pg - P:[Kirby]  
    "Problem Clinic" 3 pg - P:[Meskin] I:[Meskin]
    "The Way They Met" 1 pg - P:[Roussos]  
    "A Honey of a Sergeant" 8 pg - P:[Draut] I:[Draut]
    "Your Crowning Glory" 1 pg -  - (text)
    "Say It With Kisses" 7 pg - P:[Meskin] I:[Meskin]
    "End Those Blues" 1 pg -  - (text)
    "Gentlemen Prefer Ladies" 9 pg - P:[Meskin] I:[Meskin]
  44 (v.5, n.8) April 1952
    (cover) - P:Photo  
    "Forget Me Not" 8 pg - P:[Kirby]  
    "A Bride for Father" 10 pg - P:[Meskin] I:[Meskin]
    "While He's Away" 1 pg -  - (text)
    "The Lady Says She's Innocent" 9 pg - P:[Meskin] I:[Meskin]
    "Up To Form" 1 pg -  - (text)
    "Hired Girl" 10 pg - P:[Prentice] I:[Prentice]
  45 (v.5, n.9) May 1952
    (cover) - P:Photo  
    "The Things I Didn't Know About Him" 10 pg - P:[Kirby]  
    "By Appointment Only" 8 pg - P:[Meskin] I:[Meskin]
    "Let's Call It Off" 8 pg - P:[Prentice] I:[Prentice]
    "I Want Him Back" 1 pg -  - (text)
    "What Advice Would You Have Given" 2 pg - P:[Roussos] I:[Roussos]
    "There'll Be Some Changes Made" 1 pg -  - (text)
    "Treat 'Em Rough" 8 pg - P:Meskin I:[Meskin]
  46 (v.5, n.10) June 1952
    (cover) - P:Photo  
    "We Only Have Today" 8 pg - P:[Kirby]  
    "How He Proposed" 1 pg - P:[Eadeh]  
    "Problem Clinic" 2 pg - P:[Eadeh]  
    "This Is My Punishment" 7 pg - P:[Walton]  
    "Hair's How" 1 pg -  - (text)
    "The Gal On The Flying Trapeze" 6 pg - P:[Meskin] I:[Meskin]
    "Little Busybody" 7 pg - P:[Meskin] I:[Meskin]
    "Dare To Be You" 1 pg -  - (text)
    "A Knack For Writing" 7 pg - P:[Eadeh]  
  47 (v.5, n.11) July 1952
    (cover) - P:Photo  
    "A Man For My Birthday" 8 pg - P:[Draut] I:[Draut]
    "Drop The Handkerchief" 6 pg - P:[Kirby]  
    "Back In Circulation" 1 pg -  - (text)
    "Love Me, Love My Dog" 7 pg - P:Meskin I:[Meskin]
    "What Advice Would You Have Given" 2 pg - P:[Meskin] I:[Meskin]
    "Watch That Sun Tan" 1 pg -  - (text)
    "Tenement Girl" 8 pg - P:[Prentice] I:[Prentice]
  48 (v.5, n.12) August 1952
    (cover) - P:Photo  
    "Love Is Poison" 8 pg - P:[Draut] I:[Draut]
    "Some Pointers on Pickups" 1 pg -  - (text)
    "Martha Was A Lady" 7 pg - P:[Prentice] I:[Prentice]
    "Everything But Love" 7 pg - P:[Eadeh]  
    "The Way They Met" 1 pg - P:[Eadeh]  
    "Best Foot Forword" 1 pg -  - (text)
    "No Greater Love" 7 pg - P:[Meskin] I:[Meskin]
  49 (v.6, n.1) September 1952
    (cover) - P:Photo  
    "Witch Girl" 8 pg - P:[Prentice] I:[Prentice]
    "A Patch in Time" 1 pg -  - (text)
    "Honeymooners, Not Wanted" 7 pg - P:[Draut] I:[Draut]
    "You'll Wish You'd Never Met Me" 8 pg - P:[McCarty]  
    "A Scent is a Scent" 1 pg -  - (text)
    "The Way They Met" 1 pg - P:[Meskin]  
    "Prince Charmin' Himself" 6 pg - P:[Eadeh]  
  50 (v.6, n.2) October 1952
    (cover) - P:Photo  
    "Money, Money, Money" 8 pg - P:[Draut] I:[Draut]
    "Tag Along" 7 pg - P:[Draut] I:[Draut]
    " How to Catch a Wolf" 1 pg -  - (text)
    "A Terrific Guy" 8 pg - P:[Eadeh]  
    "The "It Girl"" 1 pg -  - (text)
    "A Way With The Ladies" 8 pg - P:Meskin I:[Meskin]
  51 (v.6, n.3) November 1952
    (cover) - P:Photo  
    "Cheap Kisses" 8 pg - P:[Prentice] I:[Prentice]
    "Good Girl, Bad Girl" 6 pg - P:[Meskin] I:[Meskin]
    "He Loves Me Not" 1 pg -  - (text)
    "Partners" 6 pg - P:[Meskin] I:[Meskin]
    "Unbutton Your Lip" 1 pg -  - (text)
    "Problem Clinic" 2 pg - P:[Draut] I:[Draut]
    "The Way They Met" 1 pg - P:[Kirby]  
    "Joe Barnes, Washout" 7 pg - P:[Draut] I:[Draut]
  52 (v.6, n.4) December 1952
    (cover) - P:Photo  
    "Soldier On The Train" 8 pg - P:[Draut] I:[Draut]
    "It Isn't So" 1 pg -  - (text)
    "Secretly Married" 7 pg - P:[Prentice] I:[Prentice]
    "Ne'er Do Well" 8 pg - P:[Meskin] I:[Meskin]
    "Smile Care" 1 pg -  - (text)
    "Give Up Your Baby" 8 pg - P:[Meskin] I:[Meskin]
  53 (v.6, n.5) January 1953
    (cover) - P:Photo  
    "That Girl In My Corner" 10 pg - P:[Kirby]  
    "Be Popular" 1 pg -  - (text)
    "Stars In Her Eyes" 5 pg - P:[Eadeh]  
    "Bring A Girl" 7 pg - P:Walton  
    "Problem Clinic" 1 pg - P:[Meskin] I:[Meskin]
    "You Asked Me" 1 pg -  - (text)
    "Pretty As Is Pretty Does" 7 pg - P:[Roussos]  
  54 (v.6, n.6) February 1953
    (cover) - P:Photo  
    "Double Wedding" 9 pg - P:[Kirby]  
    "On the Double" 1 pg -  - (text)
    "Snowed In" 8 pg - P:[Prentice] I:[Prentice]
    "Poison Pen" 7 pg - P:Meskin I:[Meskin]
    "Taking a Bath" 1 pg -  - (text)
    "Come Into My Parlor" 7 pg - P:[Draut] I:[Draut]
  55 (v.6, n.7) March 1953
    (cover) - P:Photo  
    "Afraid To Go Home" 8 pg - P:[Meskin] I:[Meskin]
    "Heartless" 7 pg -  
    "Nobody's Sweetheart" 1 pg -  - (text)
    "The Other Woman" 6 pg -  
    "Problem Clinic" 2 pg - P:[Kirby]  
    "To Much Lip" 1 pg -  - (text)
    "Tell It To The Judge" 8 pg - P:[Prentice] I:[Prentice]
  56 (v.6, n.8) April 1953
    (cover) - P:Photo  
    "On Your Honor" 9 pg - P:[Kirby]  
    "Still Single?" 1 pg -  - (text)
    "Fight For Your Love" 8 pg - P:[Prentice] I:[Prentice]
    "Short Cut to Charm" 1 pg -  - (text)
    "Rx For Romance" 7 pg - P:[Draut] I:[Draut]
  57 (v.6, n.9) May 1953
    (cover) - P:Photo  
    "The Underdog" 8 pg - P:[Kirby]  
    "Problem Clinic" 2 pg - P:[Kirby]  
    "The Extra Touch" 1 pg -  - (text)
    "Peeping Tom" 6 pg - P:[Kirby]  
    "Lover's Leap" 1 pg -  
    "Strange Marriage Customs" 1 pg -  
    "Too Young?" 1 pg -  - (text)
    "Little Flirt" 6 pg - P:[Eadeh]  
  58 (v.6, n.10) June 1953
    (cover) - P:Photo  
    "Too Innocent To Love" 12 pg - P:[Kirby]  
    "I See by the Papers" 1 pg -  - (text)
    "Too Good For Me" 6 pg - P:[Meskin] I:[Meskin]
    "Think Yourself Thin" 1 pg -  - (text)
    "Love That Landlady" 6 pg - P:[Draut] I:[Draut]
  59 (v.6, n.11) July 1953
    (cover) - P:Photo  
    "You Stole My Girl" 5 pg - P:[Meskin] I:[Meskin]
    "Borrow A Boy Friend" 3 pg - P:[Kirby]  
    "The Diplomatic Touch" 1 pg -  - (text)
    "Love Me, Don't Laugh At Me" 6 pg - P:[Draut] I:[Draut]
    "Blemish Banishers" 1 pg -  - (text)
    "A Family Affair" 9 pg - P:[Kirby]  
  60 (v.6, n.12) August 1953
    (cover) - P:Photo  
    "His Wife's People" 8 pg - P:[Draut] I:[Draut]
    "Mama's Boy" 1 pg -  - (text)
    "First Kiss" 4 pg - P:[Eadeh]  
    "Have Faith In Me" 4 pg - P:[Prentice] I:[Prentice]
    "Live Longer" 1 pg -  - (text)
    "How Did You Meet Him" 2 pg - P:[Meskin] I:[Meskin]
    "Hey, Mindy! Ain't 'Cha Comin' Out?" 1 pg -  
    "So Charming, So False" 6 pg - P:[Kirby]  
  61 (v.7, n.1) September 1953
    (cover) - P:Photo  
    "Let Sleeping Love Lie" 8 pg - P:[Kirby]  
    "A Very Important Date" 4 pg - P:[Kirby]  
    "House Guesting" 1 pg -  - (text)
    "The Girl He Couldn't Forget" 6 pg - P:[Draut] I:[Draut]
    "Home Permanents" 1 pg -  - (text)
    "Tried And Untrue" 6 pg - P:[Prentice] I:[Prentice]
  62 (v.7, n.2) October 1953
    (cover) - P:Photo  
    "The Mystery Blonde Of Lover's Lane" 6 pg - P:[Kirby]  
    "Using Me" 6 pg - P:[Draut] I:[Draut]
    "Problem Child" 1 pg -  - (text)
    "Worlds Apart" 6 pg - P:[Prentice] I:[Prentice]
    "Background Beauty" 1 pg -  - (text)
    "Teen-Age Wildcat" 6 pg - P:[Meskin] I:[Meskin]
  63 (v.7, n.3) November 1953
    (cover) - P:Photo  
    "A Matter Of Pride" 8 pg - P:[Kirby]  
    "How He Proposed" 1 pg - P:[Meskin] I:[Meskin]
    "Good Manners" 1 pg -  
    "Parents Are People" 1 pg -  - (text)
    "The Two Mrs. McGillicudys" 7 pg -  
    "Good Manners" 1 pg -  
    "What Advice Would You Have Given" 2 pg - P:[Meskin] I:[Meskin]
    "Feet First" 1 pg -  - (text)
    "Mock Marriage" 6 pg - P:[Prentice] I:[Prentice]
  64 (v.7, n.4) December 1953
    (cover) - P:Photo  
    "Beautiful Friendship" 6 pg - P:[Kirby]  
    "Unkissed Bride" 6 pg - P:[Prentice] I:[Prentice]
    "Stop, Thief" 1 pg -  - (text)
    "The Doctor Is In Love" 6 pg - P:[Prentice] I:[Prentice]
    "Primitive Horoscope" 1 pg -  
    "Control Your Breath" 1 pg -  - (text)
    "The Heartbreaker" 6 pg - P:[Kirby]  
  65 (v.7, n.5) January 1954
    (cover) - P:Photo  
    "It's A Girl" 6 pg - P:[Prentice] I:[Prentice]
    "Work?" 1 pg -  - (text)
    "Sick Of Men" 6 pg - P:[Eadeh]  
    "The Wrong Mr. Right" 7 pg - P:[Kirby]  
    "Just Plain Scents" 1 pg -  - (text)
    "Love Me, Or Else" 6 pg - P:[Lawrence]  
  66 (v.7, n.6) February 1954
    (cover) - P:Photo  
    "I Want You For Christmas" 6 pg - P:[Prentice] I:[Prentice]
    "Same Old Stuff" 1 pg -  - (text)
    "Always Yours" 6 pg - P:[McCarty]  
    "Those We Love" 6 pg - P:[Kirby]  
    "Good Manners" 1 pg -  
    "So, Sew" 1 pg -  - (text)
    "Fools Rush In" 6 pg - P:[Draut] I:[Draut]
  67 (v.7, n.7) March 1954
    (cover) - P:[Prentice] I:[Prentice]
    "Yesterday's Love" 6 pg - P:[Draut] I:[Draut]
    "Magic Love Potion" 1 pg -  - (text)
    "Little Troublemaker" 6 pg - P:[Prentice] I:[Prentice]
    "Cute Trick" 6 pg - P:[Kirby]  
    "Good Manners" 1 pg -  
    "Skin Deep" 1 pg -  - (text)
    "Love Thy Neighbor" 6 pg - P:McCarty]  
  68 (v.7, n.8) April 1954
    (cover) - P:[McCarty]  
    "High Class Trash" 6 pg - P:[Prentice] I:[Prentice]
    "He and His Shadow" 1 pg -  - (text)
    "Bought" 6 pg - P:[Draut] I:[Draut]
    "Brotherly Love" 6 pg - P:[Meskin] I:[Meskin]
    "Good Manners" 1 pg -  
    "Sound and Fury" 1 pg -  - (text)
    "The Man I Couldn't Have" 6 pg - P:[Meskin] I:[Meskin & ?]
  69 (v.7, n.9) May 1954
    (cover) - P:[Prentice] I:[Prentice]
    "Added Attraction" 6 pg -  
    "He Still Faithful?" 1 pg -  - (text)
    "A Man For Mother" 6 pg - P:[Prentice] I:[Prentice]
    "I'll Never Let You Go" 6 pg -  
    "I Fell For The Office Wolf" 1 pg - P:Gates  
    "Charming Security" 1 pg -  - (text)
    "My Sister's Sweetheart" 6 pg - P:[Draut] I:[Draut]
  70 (v.7, n.10) June 1954
    (cover) - P:[Draut] I:[Draut]
    "Gotta Get Married" 6 pg - P:[Draut] I:[Draut]
    "Baby Me" 6 pg -  
    "Manthief" 1 pg -  - (text)
    "Imitation Wife" 6 pg -  
    "Triangular Face" 1 pg -  - (text)
    "Annie's Little Swindle" 6 pg -  
  71 (v.7, n.11) July 1954
    (cover) - P:[Prentice] I:[Prentice]
    "Only Love Endures" 6 pg - P:[Meskin] I:[Meskin]
    "Complexion Complex" 1 pg -  - (text)
    "It's Mother's House" 6 pg -  
    "Beauty Loves The Beast" 6 pg - P:[McCarty]  
    "Man Your Guns" 1 pg -  - (text)
    "Forsaking All Others" 6 pg - P:[Meskin] I:[Meskin]
  72 (v.7, n.12) August 1954
    (cover) - P:[Draut] I:[Draut]
    "Home Town Scandal" 6 pg - P:[Prentice] I:[Prentice]
    "Soldier's Pickup" 5 pg - P:[Draut] I:[Draut]
    "An Endless Courtship" 1 pg - P:Gates  
    "Bathing Suit Blues" 1 pg -  - (text)
    "Reform School Babe" 6 pg -  
    "My Kind Of Man" 1 pg - P:Gates  
    "The Irresistible Bum" 6 pg - P:[Prentice] I:[Prentice]
    "Don Juan Husband" 1 pg -  - (text)
  73 (v.8, n.1) September 1954
    (cover) - P:[Prentice] I:[Prentice]
    "Girl From The Old Country" 6 pg - P:[Prentice] I:[Prentice]
    "Be a Beautician" 1 pg -  - (text)
    "Afraid Of Marriage" 6 pg - P:[Albistur]  
    "Atoms And Eve" 6 pg -  
    "Penny Wise" 1 pg - P:Malm  
    "Breaking the Ice" 1 pg -  - (text)
    "Marriageable Age" 6 pg - P:[Draut] I:[Draut]
  74 (v.8, n.2) November 1954
    (cover) - P:[Prentice] I:[Prentice]
    "The Kissoff" 6 pg - P:[Draut] I:[Draut]
    "Be Consistant" 1 pg -  - (text)
    "A Holiday For Love" 6 pg - P:Gates  
    "Idol Worship" 6 pg -  
    "I Thought It Was Love" 1 pg - P:Gates  
    "Don't be Lonely" 1 pg -  - (text)
    "For Love Alone" 6 pg -  
  75 (v.8, n.3) December 1954
    (cover) - P:[Draut] I:[Draut]
    "Secret Marriage" 6 pg - P:[Draut] I:[Draut]
    "It's War" 1 pg -  - (text)
    "Personal Secretary" 6 pg -  
    "Light Of Love" 6 pg -  
    "Romeo, Oh, Romeo" 1 pg -  - (text)
    "Too Wise To Fall In Love" 1 pg - P:Gates  
    "Too Plain For Love - Problem Clinic" 6 pg - P:Andru  
  76 (v.8, n.4) April 1955
    (cover) - P:[Draut] I:[Draut]
    "Let's Pretend" 7 pg - P:[Draut] I:[Draut]
    "Lovesick Meddler" 6 pg - P:[Albistur]  
    "Unpleasingly Plump" 6 pg - P:Brewster  
    "She's Popular" 1 pg -  - (text)
    "Lover's Helper" 6 pg -  
    "What's Next?" 1 pg -  - (text)
  77 (v.8, n.5) June 1955
    (cover) - P:Brewster  
    "The Security Of Love" 6 pg - P:[Draut] I:[Draut]
    "Going Steady" 1 pg -  - (text)
    "The Hangout" 6 pg - P:Brewster  
    "The Big Fish" 6 pg - P:Albistur  
    "My Husband's Keeper" 7 pg - P:[McCarty]  
    "Marriage" 1 pg -  - (text)
  78 (v.8, n.6) August 1955
    (cover) - P:[Draut] I:[Draut]
    "Dream House For Two" 6 pg - P:[Draut] I:[Draut]
    "Wave it Yourself" 1 pg -  - (text)
    "Meddling Mother-In-Law" 2 pg - P:[Albistur]  
    "What's The Catch" 7 pg -  
    "Making Him Over" 1 pg -  - (text)
    "A Man To Love" 2 pg - P:Gates  
    "Once And For All" 1 pg - P:[Gates]  
    "Army Nurse" 6 pg - P:Albistur  
    "Too Fickle To Marry" 1 pg -  
  79 (v.8, n.7) October 1955
    (cover) - P:[Brewster]  
    "A Vision Of Beauty" 6 pg - P:[Prentice] I:[Prentice]
    "A Torch Song For Danny" 6 pg - P:[Albistur]  
    "Love" 1 pg -  - (text)
    "Poor Marcie" 6 pg - P:Brewster  
    "Problem Clinic" 2 pg - P:[Kirby]  
    "Come On, Smile" 1 pg -  - (text)
    "Castle In Spain" 5 pg - P:[Albistur]  
  80 (v.8, n.8) December 1955
    (cover) - P:Kirby  
    "Personal Message To Ruth" 6 pg - P:[Kirby]  
    "Shine Yourself" 1 pg -  - (text)
    "The Gingerbread House" 6 pg - P:[Kirby]  - ((Kirby inks splash))
    "Old Enough To Marry" 5 pg - P:[Kirby]  
    "The Breakup" 1 pg -  - (text)
    "Lovesick" 8 pg - P:[Kirby]  
  81 (v.9, n.3) February 1956
    (cover) - P:Kirby I:Kirby
    "The Lady And The Truck Driver" 7 pg - P:[Kirby] I:[Kirby]
    "To Love Forever" 1 pg -  - (text)
    "A Match For Linda" 5 pg - P:[Kirby] I:[Kirby & Draut]- (K inks 2-4, D 1 & 5)
    "He Had Only Me" 6 pg - P:[Draut] I:[Draut]
    "Answer Box" 1 pg -  - (text)
    "Bring The Kids" 7 pg - P:[Kirby] I:[Kirby]
  82 (v.9, n.4) April 1956
    (cover) - P:[Kirby] I:[Kirby]
    "Lost Little Lamb" 6 pg - P:[Kirby] I:[Kirby]
    "Lose Pounds" 1 pg -  - (text)
    "Bundle From Heaven" 6 pg - P:[Kirby] I:[Kirby]
    "Wild Flower" 6 pg - P:[Kirby] I:[Kirby & ?]- (Kirby inks 1-3)
    "Be Yourself" 1 pg -  - (text)
    "Repeat Performance" 7 pg - P:[Kirby]  
  83 (v.9, n.5) June 1956
    (cover) - P:[Kirby & Simon]  
    "Dancing Doll" 8 pg - P:[Kirby] I:[Kirby & ?]
    "Test for Temper" 1 pg -  - (text)
    "The Lonely Heart" 5 pg - P:[Kirby]  
    "The Serious Type" 6 pg - P:[Kirby] I:[Kirby & ?]
    "Be a Lady" 1 pg -  - (text)
    "Only You" 7 pg - P:[Kirby]  
  84 (v.9, n.6) October 1956
    (cover) - P:[Kirby] I:[Draut?]
    "Swept Off My Feet" 6 pg - P:[Kirby] I:[Kirby]
    "Romance Recipe" 1 pg -  - (text)
    "Romeo And Judy Ann" 6 pg - P:[Kirby]  
    "Much Ado About Love" 7 pg - P:[Kirby] I:[Kirby]
    "How to Say No" 1 pg -  - (text)
    "Poison Ivy" 6 pg - P:[Kirby] I:[Kirby]
  85 (v.10, n.1) December 1956
    (cover) - P:[Kirby]  
    "Lizzie's Back In Town" 7 pg - P:[Kirby]  
    "Charm" 1 pg -  - (text)
    "Lady's Choice" 6 pg - P:[Kirby]  
    "Resort Romeo" 6 pg - P:[Kirby]  
    "Problems" 1 pg -  - (text)
    "My Cousin From Milwaukee" 6 pg - P:[Kirby]  
  86 (v.10, n.2) February 1957
    (cover) -  
    "His Heart Was Blind" 6 pg -  
    "Problems" 1 pg -  - (text)
    "Was I To Be Hurt A Second Time" 7 pg -  
    "I Took The Easy Way Out" 7 pg -  
    "Temperament" 1 pg -  - (text)
    "Reject" 4 pg - P:[Kirby]  
  87 (v.10, n.3) April 1957
    (cover) -  
    "Girl With Possibilities" 7 pg - P:[Kirby]  
    "Letters" 1 pg -  - (text)
    "Rock n' Roll Sweetheart" 6 pg - P:[Kirby]  
    "Made Me Beautiful" 6 pg - P:[Kirby]  
    "Colors" 1 pg -  - (text)
    "Was I Too Possessive" 7 pg -  
  88 (v.10, n.4) June 1957
    (cover) -  
    "Did I Have The Right To Love An Older Man" 7 pg -  
    "Letters" 1 pg -  - (text)
    "Who Loves The Loser" 5 pg -  
    "Unfinished Business" 5 pg -  
    "Bracelets" 1 pg -  - (text)
    "Why Don't They Leave Me Alone" 7 pg -  
    "They're Only Men" 1 pg - P:[Kirby]  
  89 (v.10, n.5) August 1957
    (cover) -  
    "Trust In Me" 5 pg -  
    "Guessing Game" 4 pg - P:Cameron  
    "Letters" 1 pg -  - (text)
    "Pal Joannie" 5 pg - P:Cameron  
    "Rock-A-Bye To Love" 6 pg -  
    "Real You" 1 pg -  - (text)
    "Goodbye, My Darling" 5 pg - P:Cameron  
  90 (v.10, n.6) October 1957
    (cover) -  
    "Girl In The Middle" 5 pg - P:[Kirby]  
    "The Direct Approach" 4 pg - P:[Cameron]  
    "Money Bags" 1 pg -  - (text)
    "Sawdust Princess" 5 pg -  
    "Baby Sister" 5 pg -  
    "'Tater Trap" 1 pg -  - (text)
    "Something Missing" 6 pg - P:[Cameron]  
  91 (v.11, n.1) December 1957
    (cover) -  
    "Man-Hater" 5 pg -  
    "The Waiting Game" 4 pg - P:[Kirby] I:[Stein]
    "Problems" 1 pg -  - (text)
    "That Certain Something" 5 pg - P:Colletta  
    "Live Alone And Love It" 5 pg - P:[Stein] I:[Stein]
    "The Way They Met" 1 pg -  
    "Solitude" 1 pg -  - (text)
    "A Family Affair" 5 pg -  
  92 (v.11, n.2) February 1958
    (cover) - P:[Kirby] I:[Kirby]
    "Lovable Dud" 5 pg - P:? I:[Colletta]
    "Land Of Make-Believe" 5 pg -  
    "Letters" 1 pg -  - (letters)
    "Running Mates" 5 pg - P:[Kirby] I:[Kirby]
    "Mind Over Moonlight" 5 pg - P:[Stein] I:[Stein]
    "Problem Clinic" 1 pg -  - (text)
    "The Happy Bachelor" 5 pg - P:[Kirby]  
  93 (v.11, n.3) April 1958
    (cover) -  
    "Last Year's Love" 5 pg - P:? I:[Colletta]
    "I Want To Dance" 4 pg -  
    "Problems" 1 pg -  - (letters)
    "Jealousy" 5 pg - P:[Kirby] I:[Stein]
    "Empty Words" 5 pg - P:? I:[Colletta]
    "Makeup" 1 pg -  - (text)
    "Afraid Of Life" 5 pg - P:[Stein] I:[Stein]
  94 (v.11, n.4) June 1958
    (cover) -  
    "The Wrong Way" 5 pg -  
    "Everything I Has Is Yours" 5 pg -  
    "The Letter" 2 pg -  - (text)
    "Long Journey To Nowhere" 5 pg -  
    "Get Out Of My Life" 5 pg - P:? I:[Colletta]
    "Turnabout" 5 pg -  
  95 (v.11, n.5) August 1958
    (cover) - P:[Kirby] I:[Kirby]
    "Listening To Love" 5 pg - P:[Kirby] I:[Kirby]
    "Love and Lost" 1 pg -  - (text)
    "A Young Man's Fancy" 5 pg -  
    "Hold Back The Tears" 5 pg - P:[Stein] I:[Stein]
    "Young As Romance" 5 pg -  
    "Well Groomed" 1 pg -  - (text)
    "Lover, Come Back" 5 pg -  
  96 (v.11, n.6) October 1958
    (cover) -  
    "Infatuation" 5 pg -  
    "Dream In The Shadows" 5 pg -  
    "Letters" 1 pg -  - (letters)
    "For The Love Of Mike" 5 pg -  
    "Sauce For The Gander" 5 pg - P:[Reinman]  
    "Real Love" 1 pg -  - (text)
    "Navy Gal" 5 pg - P:[Reinman]  
  97 (v.12, n.1) December 1958
    (cover) - P:Kirby  
    "My Eye On A Star" 5 pg -  
    "It's All Over" 1 pg -  - (text)
    "Hearts And Flowers" 5 pg - P:[Kirby] I:[Kirby]
    "See My Love Clearly" 5 pg -  
    "Uninvited Guest" 5 pg - P:[Kirby] I:[Kirby]
    "Beauty Clinic" 1 pg -  - (text)
    "The Lamb In The Grey Flannel Suit" 5 pg - P:[Reinman]  
  98 (v.12, n.2) February 1959
    (cover) -  
    "Made In Heaven" 5 pg - P:[Prentice] I:[Simon]
    "How Does He Treat You" 1 pg -  - (text)
    "The Stars" 5 pg -  
    "Secret In My Heart" 5 pg - P:[Kirby] I:[Kirby]
    "A Husband For My Sister" 5 pg - P:[Kirby] I:[Kirby & Stein]- (Kirby inks splash page)
    "Mail Box" 1 pg -  - (Letters)
    "Second Heartbreak" 5 pg - P:[Reinman]  
  99 (v.12, n.3) April 1959
    (cover) -  
    "Fair Game" 5 pg - P:[Reinman]  
    "Letters" 1 pg -  - (Letters)
    "Man Wanted" 5 pg - P:[Kirby] I:[Kirby]
    "Ashamed" 5 pg - P:[Reinman]  
    "The Love I Lost" 5 pg - P:[Kirby] I:[Kirby]
    "Problems" 1 pg -  - (Letters)
    "The Nearness Of You" 5 pg -  
  100 (v.12, n.4) June 1959
    (cover) -  
    "Evidence Of Love" 5 pg -  
    "Letters" 1 pg -  - (Letters)
    "Two Different Worlds" 5 pg -  
    "Little Cold Heart" 5 pg - P:[Reinman]  
    "Come Be My Love" 5 pg -  
    "Problems" 1 pg -  - (letters)
    "Wish Upon A Star" 5 pg - P:[Reinman]  
  101 (v.12, n.5) August 1959
    (cover) -  
    "Love And Marriage" 5 pg - P:[Reinman]  
    "Man In The House" 5 pg - P:[Prentice] I:[Simon]
    "The Mail Bag" 1 pg -  - (letters)
    "The Talk Of The Town" 5 pg -  
    "Young And Beautiful And Bored" 5 pg -  
    "Self-Confidence" 1 pg -  - (text)
    "Smooth Operator" 5 pg -  
  102 (v.12, n.6) October 1959
    (cover) -  
    "The End Of A Dream" 5 pg -  
    "Miss Make Pretend" 5 pg -  
    "Letter" 1 pg -  - (Letters)
    "My Future Boss" 5 pg - P:[R. S.]  
    "Beautiful But Smart" 5 pg -  
    "Advice" 1 pg -  - (text)
    "The Wounded Party" 5 pg - P:[Kirby] I:[Kirby]
  103 (v.13, n.1) December 1959
    (cover) - P:Kirby  
    "Scheduled For Heartbreak" 5 pg - P:[Powell]  
    "The Man For Me" 5 pg - P:[Kirby] I:[Kirby]
    "High Stakes" 5 pg -  
    "Dancing Date" 5 pg - P:[Powell]  
    "Choose Your Man" 1 pg -  - (text)
    "Liars In Love" 5 pg - P:[Kirby] I:[Kirby]