Paperback, hardback, limited edition hardback, signed limited edition, signed and numbered, signed and lettered, leather, slipcased, specially bound, etc. First editions, first hardcover edition, first US or British edition. A book sometimes is published in different states, even by the same publisher. Other books may appear under different imprints; are those books then first editions? The variation in an edition might appear minor, or there will be extras depending on the rarity of the state. The price to the buyer will rise accordingly. And, should the book sell out, often the price will sky-rocket in the secondary market. The price also is dependent upon the author, the publisher, or both. Some books get only a hardcover and paperback edition. Some get only a paperback edition (yet some of those might re-surface in a small press hardcover edition, years later). Other books are published only in special editions, while some run the gamut from paperback to special edition. And some appear only as print on demand, or in electronic format, or audio format.
Many has been the time when I’ve wondered about the “special edition” format. Small press publishers will, more often than not, publish books in several different states. They’ll call them trade editions, limited editions, or numbered and lettered editions. They may change the format of the book, add signatures from authors, editors, illustrators, etc. The more “special” an edition, the higher the price. Some buyers will gravitate to the rarer editions, seeking a slipcased and lettered copy. Is this book any better than a trade edition from that same publisher? Does a number and signature mean than much? If you bought a trade hardcover edition, and then had the author sign it (or inscribe it), would be any different?
Recently I did a quick count, and around 10% of my collection of books contain the author’s signature. Only 4% of my books are “numbered” in the more special limited edition state. None are of the rarest of rare states, although there are a few with slipcases. On a few occasions I have brought books to conventions or author signings, where authors have signed paperbacks and hardbacks, sometimes inscribing the book to me, even though they don’t know me (although I did know one of two and that meant even more to me when they signed the books).
I do feel a certain frisson when I know that a book I own is limited to a certain number of copies. The smaller the limitation, the greater than feeling, perhaps. Probably the hardcore collectors feel that emotions to a greater degree.
And yet, at the same time, having a signed paperback or an inscribed book means just as much to me, since in the latter case it means that I met the author, maybe spoke to him or her. How does having a couple of Ray Bradbury signed books from an in-person event compare to a handful of Jack Vance signed books when I never met Vance? If I bought a signed Bradbury book now, given that he passed a few years ago, would it mean as much as those two signed books that he handed back to me in person? No, definitely not.
And, so, when I buy a book these days, the signature in place doesn’t really matter too much to me. Instead, when I buy a “rare” book, it’s the hardcover that I want, not the rarest variation of that hardcover. If I own the paperback, and a hardcover becomes available, I’ll pick the cheapest hardcover, even if that means the book costs more than $20 or $50. But, at the moment, never above $100. At some point, given our government’s propensity to push inflation as a norm, I know that barrier will at some point be crossed, and I will have to spend $100 for a book. A month ago I passed on a book I really, really wanted, just because it was listed at $149. That price point’s something that will be hard for me to accept, and maybe if that’s becomes the new norm I will need to re-think my approach to books, and stick to what I have, or lesser editions.
I whiffed on guessing the latest volume in Borderlands Press series of “Little Books.” After a grouping that included Robert E. Howard and H.P. Lovecraft, I thought the next one would be collection from their contemporary, Clark Ashton Smith. Instead, the author was Edgar Allan Poe, who died in 1849, more than 40 years before Lovecraft was born.
Perhaps no other American writer is more famous than Poe, although one could argue cases for Henry David Thoreau, Herman Melville, and Nathaniel Hawthorne. These three are known primarily for one work each, while Poe is known for his vast body of work. Poe wrote stories that today would be considered horror, science fiction, and mystery. He wrote primarily short stories, along with some poems. Melville is known for his massive novel, Moby Dick, while Hawthorne is known for The Scarlet Letter (although he wrote a several other great books, and many significant short stories).
Many collections of Poe’s stories and poems exist. I own one called The Unabridged Edgar Allan Poe, which replaced a previous book that I believe was called Tales of Mystery and Imagination. The unabridged book supposedly contains ALL of Poe’s fiction and poetry, at least those that were published. Poe published many versions of his stories and poems; this book purports to contain the first version of each story. Does that matter? Perhaps not.
Regardless, Borderlands Press surprised me when they announce Poe would be the focus of a Little Book. I ordered my copy a week ago, and received it on May 31, 2024. This collection, entitles A Little Gold Book of Grotesqueries, was limited to 500 copies, signed by the editor. The “gold” in the title, by the way, has been used three times prior, for books by Neil Gaiman, David Morrell, and Lee Child.
How does this book, with its 155 pages, compare to the 1,178 pages of the Unabridged edition? Owner and publisher of Borderlands Press, Thomas Monteleone, edited the Poe collection. He penned a personal introduction, writing about how he first was introduced to Poe’s fiction at the age of 14. I, too, read Poe as a teenager, but probably more so in my early twenties while at college. This books collects a mix of stories and poems. It contains the famous poem, “The Raven,” although it leaves out perhaps the most famous short stories of them all, “The Cask of Amontillado.” Nonetheless, it’s a great collection of Poe’s short works.
As an aside, I do think the editor was lazy to reprint the “About the author” text word for word from the first paragraph in Wikipedia’s entry on Poe.
Here’s another F. Paul Wilson book that I picked up as part of my recent quest to find all Wilson books that I don’t own (I think that list is down to less than five at the moment, though I’m not counted books with Wilson contributions vs. his stuff alone, or limited edition versions of books that I already own).
The Christmas Thingy was originally published in 2000 as a hardcover be Cemetery Dance in a limited edition of 350 copies. It’s since been reprinted in trade paperback editions, but still remains as a somewhat obscure book. For a time. Wilson offered to sign books as a gift via the old Repairman Jack forum web site. I didn’t really pay much attention back then. Lately, I’ve been on a Wilson kick, and I found an opportunity to acquire a limited hardcover edition of this book.
Originally published in 2000, this edition was priced at $20, which seems low for a book limited to 350 copies. Ironically, I bought the book in 2024 for $20 from Half Price Books (HPB), which I thought was a bargain, as I’ve seen the book listed on eBay and Abebooks for over $75. HPB is a strange bookstore. It’s a chain, selling mostly used books at half price, although it does mark up collectible books, sometimes at reasonable markups, sometimes at insane prices. I recently bought Robert McCammon’s Baal, the Subterranean Press edition, from HPB for $50. The books must be listed by individual stores, as another copy of the same edition is listed for $150. I suppose it depends on the person listing the book, who then makes the decision on the price based on a certain knowledge, or maybe caprice. I’ve seen a Neil Gaiman book listed for $750, and someone actually bought it. I’ve also seen Jack Vance sets listed for $500 or more, and no doubt someone desperate enough will shell out that many dollars for those books.
When buying online, you wonder about the condition of the book. This copy of The Christmas Thingy, number 32 of 350 signed by Wilson and illustrator Alan M. Clark, arrived in great condition. The book was in a slipcase, with an inlaid slip from “Beckworth Auction” as lot number 535. This makes me wonder: why it ended up in an auction, who bought it and what did they pay for the book, and, lastly, why did it end up in Half Price Books? This particular book’s long twenty-four year trip finally ended up with me, which is a strange journey indeed. I wasn’t as lucky with the next addition…
Occasionally I’ve been lucky at HPB when shopping in the store. Many years ago I found the first edition of Dan Simmons’s book, Song of Kali, for only $5.95. Another time I found the 1984 horror anthology, Dark Forces, signed by a dozen contributors, including Stephen King, for $8.95. I’ve found a few Subterranean Press books at reasonable prices, and some I have place back on shelve after experiencing sticker shock. On other occasions I have skipped books that I regretted not picking up, or ended up with a copy of two in horrible condition, just to have a reading copy. You walk into a used bookstore with no idea of what you will find. Sometimes I walk out with an exciting book, sometimes with nothing at all. Still, while in the store, you can generally check the condition of a book.
Jack Vance is my all-time favorite writer, and I own (almost) all his books. I say almost as I don’t have any books from the Vance Integral Edition (VIE), which collects ALL his works, in the author’s preferred state and with his preferred titles. When the VIE was published I signed up for it, but when it came time to pay I didn’t think I could afford the entry price, so I dropped out. Now? Well, a price for anything VIE on the secondary marked is insane, if you can even find a complete set. Even single volumes fetch a premium (but so do the Underwood-Miller editions).
The Gray Prince appeared in hardback from Bobby-Merrill in 1974. For many years I owned only a copy of the DAW paperback edition, published in 1982. I’ve read the novel two or three times, and it really doesn’t stand out as a unique Vancian novel; rather, it follows a theme similar to several other novels: the idea that “ancient” races who see themselves as rightful owners/rulers are not so ancient after all, but others have preceded them. The cover is well done, however.
Recently, I saw an opportunity to get a hardcover version at a somewhat decent price, and so pulled the trigger on that purchase. I ordered this online from Half Price Books, the same day I ordered an F. Paul Wilson book (see below). The books arrived a week apart, so kudos to the store that shipped the Wilson book, vs. the store that shipped the Vance book. I really now only need a hardcover copy of Maske: Thaery (I do own a book club edition of this novel, but that’s not the same). Yet, I strongly wish that U-M had published editions of both books, back when they specialized in Vance’s works.
The cover of this edition is, to put it mildly, horribly generic. Still, it’s nice to replace a battered paperback copy with a broken spine. The story was originally published in Amazing Science Fiction magazine in two parts in 1974, under the title, The Domains of Koryphon. Maybe that title was restored in the VIE.
The book that I received was in poor condition: the spine was tilted and there was significant spotting on the edges of the paper. This 1974 copy did not hold up well. It’s signed by Vance, but, had I known about the condition I would not have bought it. It’s an issue with any online purchase. I’ve bought a few books online from Half Price Books, and this is the second one that’s been listed as fine, but was anything but fine.
I read F. Paul Wilson’s original hardcover edition of Nightworld, published by Dark Harvest press, back in 1992. This book was, at that time, the culmination of the Adversary Cycle. It was a sequel to Reborn and Reprisal, books also at that time published by Dark Harvest before their mass market paperback editions. Although a trilogy, there were connections to other novels, such as The Tomb, The Keep, and The Touch. Each of those three novels featured different protagonists, from Repairman Jack in The Tomb, to Glaeken in The Keep, and finally, Dr. Alan Bulmer in The Touch.
Nightworld brought them all together, for one final battle. Or so it seemed. Then, Wilson brought back Repairman Jack, starting with Legacies, and began a long series of novels featuring this fascinating anti-hero. Somehow he found a few stories in between the events of The Tomb and Nightworld. In all, he wrote around 21 novels, and so, in 2012 he released a revised and updated version of Nightworld.
Since 1992 I knew how the world ended, and so I never looked for this updated version of Nightworld. However, in the past few months I’ve picked up and read several FPW books that I previously didn’t have, and when I saw a hardcover edition of Nightworld available (“only one copy left”), I went ahead and bought it, and then read it over the span of three days.
Since the first edition of the book, many things have changed, and new characters have been introduced in FPW’s “Secret History of the World.” In the new edition of Nightworld, several of these characters show up, some briefly, and some for an extended visit. I tried, as I read this new edition, not to look up similar passages in the original. Much has been made of various “retcons” in other circumstances, for example the first Star Wars movie. Even J. R. R. Tolkien’s Hobbit was tinkered with by the author. Another books have “the author’s definitive text” stamped on them—there was an entire collection of books by Jack Vance created to bring out his definitive texts, the Vance Integral Edition. Is that so bad? Well, we all know that Han Solo shot first, despite what George Lucas does, but what about the written text? Sometimes authors see the hand of editors, and they want their own text “restored.”
In the case of Nightworld, it was more the case of FPW adding new stuff. In some cases, this did expand on the existing novel. In other cases, there were some disappointments. One major side character, the actuator from the secret society called the Septimus Order, one Ernst Drexler, died in a most trivial and disappointing way. The fate of major characters didn’t change much. Repairman Jack himself didn’t feel like a major character in this novel; it definitely was an ensemble novel. Still, for the most part Jack was there to worry about his mate, and not actually do stuff, aside from a simple errand. A page by page analysis would show more changes, but I chose in this instance to ignore my memory.
Wilson never wrote any novels set after the events of Nightworld. After all, what do you do when the world has ended, and then somehow was restarted? And now, in 2024, it appears that FPW will write no more novels, as a stroke has affected his writing. Some people who read the original edition, either as a Dark Harvest book or a paperback, may hesitate to read the expanded edition, or might have a preference for the original. After all, it took me over three decades between books, so maybe I counted myself among that group for a while. Still, I don’t feel that the newer edition was any lesser than the original. If anything, I liked the Repairman Jack novels, and somewhat wish there wasn’t an “end-of-the-world” novel like Nightworld to put a stop to them all. But, I didn’t see this version as something that ruined the earlier experience.
That being said, there are plenty of Repairman Jack novels to enjoy (or hate, if you don’t like what happen to certain characters in some of the novels) aside from Nightworld. It’s a shame we don’t know what happened to some of the characters Jack encountered (as easter eggs) in this updated version, but we can always imagine that they survived.
Finally, my collection of hardcover books from Golden Gryphon is complete! For many years I lacked just one novel, Sheila Finch’s The Guild of Xenolinguists, published in 2007 by Golden Gryphon Press. This was number 52 in their 62-book hardcover series, which ran from 1997 through 2010. For many years James Turner was their editor, until his untimely death in 1999. After his death, the publisher remained in business only a few more years, finally folding in 2017, although the last hardcover appeared in 2010. In that time they managed to publish 62 hardover books, and a few softcover editions. Each hardcover bore a number, and for many years #52 has been absent from my collection. Until now.
Jim Turner, for many years, had been an editor at Arkham House, where he oversaw some great books, including several collections that were more science fiction than horror. Maybe Arkham House wanted to see horror instead of SF, and Turner left. Maybe there were other reasons. Still, after his departure Arkham House floundered and then went dormant. I think it was their loss that he left, but our gain that Golden Gryphon published so many great books by fantastic authors. Several authors had multiple books published by Golden Gryphon, all in a similar format, with out-of-this world covers.
Finch’s novel has been somewhat hard for me to find. Several copies online are listed for $50 or more, but I found one recently for around $20, and it even was signed. I waited for the book on tenterhooks. Would it be in decent condition, or would the spine lean or markings made inside the book? Would it be a former library book, or have someone’s bookplate? When you buy online, these are constant worries. For the most part, I have been been happy with online purchases, but a couple of times I have not received what I expected. Once, I thought a book was an Arkham House edition, but it was under the Mycroft Moran imprint, and there was a glued-in bookplate. Two other times, the books were shrink-wrapped, and arrived with spotting on the top pages. Since then, I have been wary of shrink-wrapped books from the 1990s, at least by that publisher.
However, Uncle Hugo came through, and I’m thrilled to finally have a complete Golden Gryphon hardcover collection. I’ve read most of the 62 books by the publisher (63 if I could a trade paperback edition of a Joe R. Lansdale book). Those that I haven’t read now get added to my To Be Read list, which already is massive.
I’m thrilled to have this collection of books finally complete. Now I just need to figure out a way to shelve them properly, since they span two and half rows in a bookshelf. Someone once asked me why I group my books in a certain way. There is no set order. In some cases, I group together all books by a writer. In others, by a publisher. The top writers usually end up on eye level, and the lesser ones at the bottom of the bookshelf. But, I keep moving them around. In this case, all Golden Gryphon books are grouped together, spanning two and a half rows on a bookshelf, and ordered alphabetically by author.
A trio of FPW books, one more in the Author’s Choice Monthly series from the early 1990s by Pulphouse Publishing, and novella by Lucius Shepard.
The Void Protocol, F. Paul Wilson, Forge 2019. Bought at near list price, this is the third book in a trilogy that started with the novel Panacea. It’s been a few years since I read Panacea, so I know little to nothing about this series. For many years I didn’t even know it was a series, as none of the follow-up novels appeared any local bookstores. Then again, with fewer options out there, at least where I live (even in one of the ten largest cities in the US), finding a copy from some authors in a local bookstore seems almost impossible. I’m not sure if I need to first re-read Panacea to get into the second and third installments. Hard to believe it’s been just a few years since I read Panacea, as I remember virtually nothing.
The God Gene, F. Paul Wilson, Forge 2018. The second book in the trilogy with Panacea and The Void Protocol. I list them out or order as this is the order in which they arrived. Although I ordered The God Gene and The Void Protocol on the exact same day, they arrived nearly two weeks apart. Such are the vagaries of the United States Postal Service, I guess. An avid collector might have gone with the Gauntlet Press editions, but since I already had the Tor Forge copy of Panacea, I went with the mass market hardcover editions to make my set complete. I have several limited editions of FPW’s books, but I’m not super picky.
Mirage, F. Paul Wilson and Matthew J. Costello, Warner Books, 1996. Many years ago (possibly back in 1998 when it first was published and we had a decent selection of bookstores, before the internet and economic troubles crushed so many of them), I read Masque, the other collaboration between Wilson (not Abbott) and Costello.
Somehow, I never could find a copy of Mirage, a medical thriller was written before Masque. This year I finally gave up on seeing it in any used book store and bought a copy that I saw online (see above quest to acquire all F. Paul Wilson novels). This copy is signed by both Wilson and Costello. Not something I’d reject, and maybe even a bonus, plus the book’s in a great condition. Having read the first couple chapters, so far it comes across quite strongly in Wilson’s voice, although I think I can detect a difference when Costello takes a turn.
Since I recently discovered that there were a handful of F. Paul Wilson books published that I’d missed upon their initial publication, I’ve become determined to find and acquire those missing books. After these three F. Paul Wilson books, I think only four of his solo novels remain that I need to find, as well as some collaborations and other appearances.
I also picked two non-FPW books, one I’d been looking for a long time, and another that was an impulse buy.
The Father of Stones, Lucius Shepard, Washington Science Fiction Association, 1988. Lately, I’ve been reading some of Shepard’s early stories, and so I’m now keeping an eye out for titles that I don’t have. This small volume was an impulse purchase. Released in an edition of 500, this copy is number 112, signed by Shepard and slipcased. I’m sure it’s been collected somewhere in some other volume (or volumes) of his short stories, but in the meantime this was an attractive book, and sometimes you need to leave room for the simple stuff. It’s just one story, much like The Scalehunter’s Beautiful Daughter (and it’s the same size of that story when it published as a stand-along book).
Wong’s Lost and Found Emporium and Other Oddities, William F. Wu, Pulphouse Publishing, June 1992. This book is #28 in the Author’s Choice Monthly series from Pulphouse Publishing, and the second to last in the that series. It’s one that I hesitated to buy. Not because I didn’t want it, but when I started accumulating the author’s choice monthly series, I went for the unsigned paperbacks. By mistake, I bought the Charles de Lint book in hardcover. Then I bought a second in hardcover, as I could not find any copies of the paperback. I also could not find copies of William F. Wu’s book in paperback, so when I found the hardcover at a reasonable price, I thought, “Why Not?” This is strange, as far more paperback copies were supposedly printed than the hardcovers.
Maybe I’ll end up switching the 25 paperbacks in my library at some point with hardcover editions. Or, maybe the set remains uneven. Nevertheless, I now lack only one book in the series. So far, the copies I’ve seen of that title are ones with prices well outside my allotted budget. Will my collection come to a halt at 28 out of the 29 books? Perhaps. After all, how can I call myself a haphazard collector if I acquire all copies in this series?
It’s interesting that Pulphouse changed the formats of its covers. Most of the books featured a prominent portrait of the the author, with some background illustrations. For the second to last and last books (Wu and Suzy McKee Charnas), there was a drastic change in the cover. And then, after those two books, the series folded, and the publisher essentially collapsed.
Could someone pick up a similar project? probably not. A monthly series with books in this format is hard for any publisher and editor to sustain. Borderlands Press, with their Little Book series, might be the only small press publisher out there who dares follow a similar format. While Pulphouse released the books in three states—paperback, hardback, and leather—each in fewer copies, Borderlands limits itself to a single format, and usually 500 copies (with a handful of exceptions). And they’ve been doing this for 20 plus years.
A few months ago Centipede Press released volume 7 in their reprint of all of Fritz Leiber’s Fafhrd and Gray Mouser books, The Knight and Knave of Swords. This was the last book in the series that Leiber wrote, originally published on December 20, 1988 by William Morrow. I know this because that 1988 book was my first Leiber hardcover, a review copy that someone gifted to me, with the press release letter still in the book.
I’ve written before about my gradual accumulation of this series in hardcover format. All my other copies were paperback editions, acquired in used bookstores in the late 1980s and early 1990s, when one still could fine those Ace paperbacks in decent shape. So, when Centipede Press announced this series I made it a point to check their website, subscribe to their newsletter, so I could know the exact dates these books were published.
In this book, Centipede Press has outdone themselves. There are, per the publisher, “seven interior illustrations, a full-color frontispiece, two maps, a full color wraparound dustjacket, and illustrated endpapers.” With an introduction by Marc Laidlaw, artwork by Tim Kirk, and bonus material at the end, there’s a lot to absorb and enjoy. It even smells great!
Centipede Press has released both signed and unsigned copies of the book. Mine are of the unsigned variety. Leiber died a few years ago, so those signatures would be a facsimile, and my miserly self isn’t ready to shell out extra coin for the other contributor’s signatures.
If readers (or buyers) are new to this series, then finding the earlier books might prove an expensive endeavor. New from the publisher the cost had been somewhere around $70-$80. On the secondary market, either from dealers or collectors looking to offload books, the cost triples. Centipede Press books tend to fetch a premium on the secondary market, at least for books older than a few years. Supposedly there are two more books announced in this series, per the publisher: “Swords Against the Shadowland by Robin Wayne Bailey and a ninth volume which will be a book of all sorts of Fafhrd and the Gray Mouser archival artwork.” Since, in this case, I got in on the ground floor with volume 1, I’ll go for the last two, as here I might actually a chance for a complete set.
In the meantime, I’m torn between re-reading the stories from my 1988 edition, or gently reading the stories from the new edition. The bonus material is one thing, but spending hours with such a gorgeous book is another thing altogether.
I started to write something about Howard Waldrop the day I learned he died, when I read about it on Lawrence Person’s blog on January 15, 2024. Back then, I found it impossible to put any words together about Waldrop. I still struggle today to find the right words; I’m not quite sure why I’m thus affected, as I knew him mainly through his fiction.
I met Waldrop only twice in my life, so, unlike many of the people who have written about Waldrop, I never knew him personally. The second time I met Waldrop, coincidentally, was at Person’s house in June 2005. I happened to drop by to buy some books when Waldrop and Bradley Denton both were there, two writers I greatly admire. I managed to get a few books signed, mumbling a few world to each writer about how much I liked their stories; Waldrop grumbled a bit as he inscribed a copy of Howard Who? which he’s already signed, as it was one of the books I bought from Person that day, but I persisted, as an inscribed copy meant more to me. A few years earlier I’d stood in line at Armadillocon in 1989 and Waldrop had signed A Dozen Tough Jobs and Them Bones, a pair of books published by Mark V. Zeisings that were my initiation into his fiction. I only know these dates because Waldrop added dates to the books he signed.
Between 1989 and 2024 I bought virtually every Waldrop book I could find, which I think is all save one original book and two collections of stories that I already own in other formats.
Howard Waldrop is known for writing stories at the last minute, pressured by having to read them at a science fiction convention, and for mainly writing short fiction. He’s also known for not making a ton of money for his fiction, despite the admiration of many a writer and editor. The funny thing is that I have never heard Waldrop read a single story. Sure, I attended Armadillocon for many years between 1988 and 2000 (and a couple of times since), but for some reason I always left the convention early, long before Waldrop did his famous readings. Since I lived in Austin, where the conference was located, I never stayed at the hotel, and generally left after the dealer’s room closed, or found some other excuse to skip the crowds. Instead, I read his stories in books as they were collected and published, with my inner voice, rather than Waldrop’s own Texas twang.
These books include Howard Who? his first collection, which I didn’t read as an introduction to his work. Rather, after Them Bones and A Dozen Tough Jobs (a novel and long novella) I read is short fiction first in the collection, Strange Monsters of the Recent Past, a paperback published by ACE Books in 1991. Unbeknownst to me at the time, this book had been published in a hardcover edition by Ursus in 1987 under the title, All About Strange Monsters of the Recent Past; in early 2023 I found a copy of the Ursus book online and acquired the signed, limited edition, a gorgeous slipcased book signed by all 11 contributors. My next Waldrop book after the 1989 encounter, was Night of the Cooters, a book published by Ursus in 1990 (or 1991, as Waldrop wrote when he signed my copy in 2005). I only have the trade edition of this book, but the title story is a classic retelling of H. G. Wells’ War of the Worlds, set in rural Texas. (I missed out on acquiring a signed/limited copy, as I thought that, since I already have one hardcover edition, why spend money on a second? Dumb, eh?)
After Night of the Cooters, I bought another collection, Going Home Again, this time bought from Adventures in Crime and Space in Austin, back in the good old days of independent book stores. This book also was signed by Waldrop on that day in 2005 (as I brought it with me hoping to get one book signed), where he remarked that this book was “remaindered and pulped, all in one operation.” Going Home Again contains a bibliography, which since has been superseded by other, more recent stories. Waldrop’s statement about the remaindering and pulping still saddens me to this day. Waldrop was heavily involved in SF conventions throughout his life, even WorldCon. But did he ever get a Hugo Award, the supposedly “best SF award” from fans? No, not ever. Instead, the Worldcon fans, who nominate and vote on the Hugo Award, each year put forth their puerile faves, and each year the genre shrinks.
Some other collections that I acquired over the years: Custer’s Last Jump, under the Golden Gryphon imprint, published in 2003. I was lucky enough to get Waldrop to sign this book, which he inscribed “good luck getting these boyos to sign this” as it’s a collection of collaborations. Who are the other authors? Bruce Sterling, who rarely visits the US these days. Leigh Kennedy, who lives in the United Kingdom, Steven Utley (deceased 2013), Buddy Saunders (still around, but apparently an unperson for certain views), George R. R. Martin (impossible to approach these days as his fame rivals that of Stephen King), and A. A. Jackson.
Dream Factories and Radio Pictures appeared and vanished just as quickly. The Heart of Whiteness was published in a limited edition by Subterranean Press in 2005. My copy is number 615 of 750 printed (plus 26 lettered copies). Imagine that, a collection of Waldrop with only 750 (or rather, 776) copies! In 2013 Small Beer Press published A Horse of a Different Color, containing stories written after 2008. A pair of collections were later published by Old Earth Books, mostly already published stories (if not all already published stories). Between 2008 and 2023, no trace that I can find of new fiction from Waldrop.
In 2023 Subterranean Press announced a new collection, called H’ard Starts, one intended with all monies going to Waldrop. For some reason, despite his brilliant stories throughout the years, Waldrop never quite reached the fame and financial reward that his stories merited. H’ard Starts, the collection of early tales, was slated for publication later that year. I pre-ordered a copy the moment I learned about it. On regular intervals I checked the Sub Press page, which still advertised the book for many months. Despite the presence of George R. R. Martin’s name (for years he was a friend of Waldrop’s), the book, limited to 750 copies, remains available as of this date. Where are the Waldrop fans? Then, finally, the book was published, and reached my hands. It was numbered 290 of 750 copies. Maybe people didn’t buy it because Subterranean Press gets limited attention, or the price made people hesitate in our current economic age of inflation and misery. Then again, the fans just aren’t there. The Hugos that are voted on by “the fans” don’t grace Waldrop’s bookshelves, despite the plethora of candidates throughout the years.
A few months after H’ard Starts was published, Howard Waldrop died. There is no justice in the universe.
Why do I like his stories? In one sense, they are unique. Many of them are alternate history tales, and in that sense he’s not too unique, as other writers inhabit this genre. But Waldrop writes primarily in the short fiction form, and he takes ideas almost too weird to exist and makes them real. Maybe it’s that weirdness that speaks to me, that power of invention and crazy imagination. Waldrop also has a certain style, one not easily (if ever) imitated. I hardly knew him as a person, having only met him twice, and as nothing more than a fan. But, from what I’ve read from the people who knew him, he was one of a kind, not just in terms of his fiction, but as a person. Rest in Peace, Howard Waldrop, and thanks for crafting into words some of the greatest stories ever written.
Charles de Lint is prolific writer whose books have become harder to find. In the 1990s and early 2000s, paperback copies of early de Lint books were still available, as well as newer ones in hardcover, at least in the local new and used bookstores. Even though I dislike beat-up books, or books with cracked spines, I bought any de Lint book that at the time I didn’t own, regardless of condition. For a long time I mostly owned de Lint paperbacks. I slowly started accruing some hardcover editions when those appeared. Then, shortly after the year 2000 the number of books I bought dropped sharply. Reading habits changed, kids came into my life, I moved cities, and a host of other things happened around the same time. I looked at my de Lint books recently, and compared to his published output, although I own close to 30 of his books, that’s maybe around half his published books.
These days, as I’m trying to fill in a few gaps with books from favorite writers that I’ve missed over those “lost” years, de Lint’s books are high on my list. It seems that a fair number of his books in the 2000s were published in limited editions by Subterranean Press. These all are now out of print. Looking at the list of books under his name from that publisher, it would take a fair amount of money and effort to collect them all. But, I’ve slowly started to pick up a few of them.
First of these was Promises to Keep (Subterranean Press, 2007 – trade hardcover edition). This slim novel features an early tale from a character that has appeared in other de Lint stories, Jilly Coppercorn. With over two decades since I last read anything by de Lint, I don’t remember having previously encountered her. (Note: glancing through my stack of paperbacks I see that Jilly appears in Dreams Underfoot, a collection of linked stories. I’ve this book for many years, and I think I read some—or all—of the stories at some point.)
Next, Eyes Like Leaves (Subterranean Press, 2009 – signed, not numbered hardcover). This is early novel. It was first finished in 1980, but as de Lint explains in his introduction, his then editor cautioned against publishing it, as she felt it would pigeon-hole him as a “secondary world fantasy author.” At the time, he had already published a few novels, and was moving into a more contemporary fantasy genre, so he set aside the manuscript. Prompted by the release in book form of some earlier short stories (see below), he dusted off this book, cleaned it up a bit, and so we have a “lost” novel from de Lint, set in a magical world in an imaginary land.
Then, The Wind in His Heart (PS Publishing, 2018, signed and limited, #214 of 500 copies). This book, which I read in March 2024, is set far away from his usual imaginary city of Newford in Canada, and in the afterword de Lint mentions that the market for his adult books disappeared, and for years he had to write young adult stories. This probably explains one of the reasons in my gap of de Lint books. Still, I’m maybe part of the reason of that disappearing market, as until quite recently the last de Link book I bought was back in 2002; looking at an online bibliography, he published over 25 books since that 2002 purchase.
A Handful of Coppers (Subterranean Press, 2003 – signed, not numbered hardcover), contains some of the earliest de Lint stories. Every new writer needs to read a book like this, if only to remind themselves, as de Lint writes, that whether or not the stories he wrote back then are good or not (and writers mostly look back at early fiction and cringe), they were the best that they could be at the time. Many a new writer has looked at his or her first few stories and given up, seeing only rough, misshapen plots and characters. It takes time, work, effort, and someone like Charles de Lint put in a ton of effort to become a great writer, something evident even in his early stories.
Quicksilver & Shadow (Subterranean Press, 2005 – signed, not numbered hardcover) follows with more early tales. While the stories in A Handful of Coppers are mostly in the fantasy genre, the ones in this collection are described as “contemporary, dark fantasy, and science fiction.” Subterranean Press published a slew of de Lint books over the years, so I now feel the pressure to find the other collections and novels. Maybe it’s time to re-read some of the ones that I read so many years ago, as well.
I first read a Robert McCammon novel sometime in the early 1980s, when I read a handful of vampire novels, including ones by Bram Stoker, Stephen King, Anne Rice, and, of course, McCammon’s They Thirst.
Then, in the 1990s, on a different continent, I read a handful of McCammon paperback originals—The Wolf’s Hour, The Night Boat, Stinger, and Blue World. I tried to keep up with his books in hardback once his novels moved to that format, although I had to pause and backtrack when they only became available in expensive small press editions. Along the way, prior to those small press editions and as I switched to current hardcover books, I missed out on a trio of paperbacks—Swan Song, Bethany’s Sin, and Baal.
In terms of Swan Song, I don’t mind not having the paperback, as I was able to get the hardcover Dark Harvest edition via my brother-in-law, who at the time was a part-time book dealer with similar tastes in fiction. He even brought me back the book from a convention he attended, where McCammon had inscribed the book to me, even though I wasn’t there in person.
Lately, I’ve acquired a handful of these small press editions, usually the less expensive trade editions (many small press publishers create two to three different editions of the same book. The more expensive ones tend to have some extras, such as slip cases, or additional material). Now and then I’ve been lucky enough to find a few of the limited books by chance, notably Blue World (signed, limited edition) and The Border (just the “deluxe hardcover edition”), and all the Matthew Corbett books save The Queen of Bedlam. A few of the rarer ones remain beyond my price threshold.
However, I’ve finally reached the point again where I can buy newly released McCammon books as they are published, rather than deliberately hunt down available copies on the second-hand market, like I did with a hardcover copy of Bethany’s Sin and the pair of vampire westerns, I Travel by Night and Last Train from Perdition (there really needs to be a third, novel to wrap up the trilogy, but that likely won’t happen). Now and then I check a few online places for what’s currently listed.
Then, recently I found an approachable (in terms of price) copy of the Subterranean Press edition of Baal, the only McCammon novel that I’ve never read. It’s also the first novel he wrote, back when he was only 25. Usually this novel fetches prices well in excess of $150, but in this case I found a copy for a third of that price. The cover looks grim, and a brief synopsis I read also portends a grim novel. Aside from this book, I think there only are two (maybe three) other McCammon books that I don’t own. I know of the Borderlands Press Little Book entry, and a small collection of Greystone Bay tales (small in size and number of stories).
Ah, the Little Book series from Borderlands Press. Somehow I suckered myself into trying to collect these books, before I knew what a daunting task lay ahead. To date—Spring 2024—almost 60 little books have been published in the series; I lack nine of the books, all impossibly priced. Although sold by the publisher for around $30 (and rising, not including what I see as an excessive shipping charge), almost all the books go out of print quickly. A few are available on places like eBay or ABE Books from dealers, usually marked up depending on the name recognition of the author. The hard to find books are priced accordingly, and those Nazgul Nine remain outside my current budget.
The series started back in 2003 with John Maclay’s vampire stories, and continued at irregular intervals with a few books each year (although there seems to have been a gap between 2005 and 2014). The most recent edition is a set of stories by perhaps one of the most famous names in horror fiction. No, not Stephen King—H. P. Lovecraft. This lean-faced misanthrope from Rhode Island is loved by some, hated by others, indebted by almost all modern fantasy and horror writers (whether they admit it or not). Lovecraft’s little book was published in March 2024, edited by S. T. Joshi. It’s part of a series of “past masters of horror” and followed another famous name–Robert E. Howard. In order of when they were acquired, here are the most recent additions to my Little Book collection.
Owen King, A Little Bronze Book of Greebles. #PC of 500. Part of the set of books in Volume 3 / Series III and signed by Owen King. It contains mostly short pieces of commentary, plus a couple of short stories. If it’s limited to 500 copies as my book says, then how come there are PC versions?
Henry S. Whitehead, A Little Orange Book of Voodoo Tales, #99 of 500. Signed by editor, Thomas Tessier, it contains five short stories. Until I bought this book I’d not heard of Whitehead. Past of the Volume 3 / Series IV, also known as the “Past Masters of Horror” grouping, as are the following three books. These books tend to sell out shortly after publication. Several of the past master of horror are unknowns. Getting them back in print, even just a few stories, is a great feat.
Robert E. Howard, A Little Bronze Book of Weird Tales, #28 of 500. Signed by editor, P. Gardner Goldsmith, it contains 11 short stories. Most, if not all, of REH’s stories have been collected elsewhere. I have only a few of Howard’s books, all paperbacks of various hue. He’s a major influence on the field of fantasy, though is known mainly for his Conan character. Died tragically by his own hand at the young age of 30. Might have become a major American writer had he lived. My copy has a sad spine lean, though I bought it directly from the publisher. Already sold out, which is not surprising.
Saki, A Little Red Book of Wit & Shudders, not numbered, but signed by the editor, Stuart Davis Schiff. Supposedly limited to 500 signed copies, but is that really the case? This Saki book doesn’t have any numbering. My Owen King book is marked as PC, aka presentation copy, so it does appear there are more than the advertised 500 printed up and signed. I have seen other copies of this title listed for sales on the second-hand market and advertised as “numbered X of 500,” so did they just print extra copies for the fun of it? I bought this from a dealer, so who knows. Contains 18 short-short stories–the book is only around 150 pages long, so that averages to just over eight pages per story.
H. P. Lovecraft, A Little Silver Book of Supernatural Stories, #290 of 500 copies, and signed by the editor, S. T. Joshi. Contains nine stories, all likely appeared elsewhere many times. But, what’s a Past Masters of Horror series without Lovecraft? There was a time when it was impossible to find any of Lovecraft’s fiction, unless you sought out Arkham House editions. These days Lovecraft is big business, with multiple multi-volume editions of his work churned out almost annually. Perhaps he slipped into the public domain, or maybe he experienced the same posthumous rise to fame as Philip .D. Dick. Although, in terms of the latter, I’m sure the Blade Runner movie started that industry of books and movies.
I guess the next book in the series has to be Clark Ashton Smith. I’m a huge CAS fan, and have read most of his stories, so there won’t be anything new there if that’s the case. Other possible names in this series include Fritz Leiber, maybe Manley Wade Wellman, or Lord Dunsany. Even James Branch Cabell is a candidate. There’s a scarcity of female writers in this series, so that’s an area that might need attention.
As far as the Little Books series goes, as a “haphazard collector” I am resigned to not having the complete series here; I’ll get what I can find, or try to just keep up with the series now.
As a matter of trivial knowledge, there are only 24 unique colors spread among the nearly 60 books. Of these, five colors have four books each, nine have three colors, one with two, and nine again with unique colors. So far no one’s managed to come up with A Little Book of Turquoise Turgid Tales or A Little Book of Pink Phantasies (hello, future editor of George MacDonald stories…). I don’t mean to overly question the editors or publishers, but surely there are other options aside from black, purple, orange, and red?
