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TARZAN ADVENTURES - UK VOLUME 9 - Pt. II: Nos 17-32 - 1959
17 (59.9.12)
Celardo 58.1.30 - 58.2.24
Daily 5770-5791
18 (59.9.19)
Celardo 58.2.25 - 58.3.1 and 58.7.28 - 58.8.15
Daily 5792-5796 and 5923-5939

19 (59.9.26)
Celardo 58.8.16 - 58.9.10
Daily 5940-5961
20 (59.10.3)
Celardo 58.9.11 - 59.10.6
Daily 5962-5983

21 (59.10.10)
Celardo 58.10.7 - 58.10.29
Daily 5984-6003
22 (59.10.17)
Celardo 58.11.1 - 58.11.21
Daily 6006-6023

23 (59.10.24)
Celardo 58.11.22 - 58.12.17
Daily 6024-6045
24 (59.10.31)
Celardo58.12.18 - 59.1.12
Daily 6046-6067

25 (59.11.7)
Celardo 59.1.13 - 59.2.6
Daily 6068-6089
26 (59.11.14)
Celardo 59.2.7 - 59.3.4
Daily 6090-6111

27 (59.11.21)
Celardo 59.3.5 - 59.3.30
28 (59.11.28)
Celardo 59.3.31 - 59.4.24
Daily 6134-6155

29 (59.12.5)
Celardo 59.4.25 - 59.5.20
Daily 6156-6177
30 (59.12.12)
Celardo 59.5.21 - 59.6.16
Daily 6178-6200

31 (59.12.19)
Celardo 59.6.17 - 59.7.11
Daily 6201-6222
32 (59.12.26) (Last Issue)
Celardo 59.7.13 - 59.8.5
Daily 6223-6243
Jim Cawthorn - Longtime ERBANIA Artist -
Remembers Tarzan Adventures
James Cawthorn interviewed by David Britton (1979)
DB: And from illustrating the Michael Moorcock fanzine you eventually began to appear in TARZAN ADVENTURES?

JC: Very shortly after I met Mike, when he was about seventeen I think, he got offered the editorship of TA, and he began looking around for new artists because he had a totally different policy in mind to the one that had been used for TA until then. The man who had been running the magazine was fairly elderly and at that time he had a rather mild, 'Children's Hour' approach to his readership, and Mike wanted to move the magazine up into the teenage bracket and higher. So he rounded up a lot of people to write and draw.

DB: Can you describe the office where TARZAN ADVENTURES was produced?

JC: It was about the size of a large cupboard. It was quite dark because as far as I remember the only window was quite high up on the wall, and very small. It had a table running along the left-hand side as you went in through the door which took up most of that side of the office. Then there was Mike, and a chair, who took up most of the middle of the office, and there was a table at the back which was stacked with thousands of copies of the various publications that IPC did, and that took care of the rest. I remember the whole place, even the Senior Editor, whose office was just through a door in a sub-divided wall; bleak and bare and making no concessions to absolutely anything except Work. My whole impression of that place is that it was bleak and dark and absolutely bare.

[Later] I did several Edgar Rice Burroughs strips, Gods of Mars, Warlord Of Mars, Pellucidar, and The Land That Time Forgot. That was largely why I ended up working on the film script for The Land That Time Forgot in the early '70s, because I had already done a breakdown of it several years before, and since breaking down a story for a strip cartoon is pretty similar to breaking it down for film script.

DB: For the future, are there any long-term projects that you would particularly like to embark on?

JC: It has been a long-term, cherished idea of mine to do an illustrated version of A Princess of Mars. But I suspect that there will be a difficulty obtaining permission from the Edgar Rice Burroughs Corporation. I have yet to see a version that in any way captures the full Burroughs flavour. If the opportunity arises I would be particularly pleased.

BRITISH:Tarzan Adventures
Vol. 2
Vol. 3
Vol. 3a
Vol. 4
Vol. 4a
Vol. 5
Vol. 5a
Vol. 7
Vol. 7a
Vol. 8
Vol. 8a
Vol. 9
Vol. 9a
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