I’m five books away from completing a collection of a 29-book series. Five books! Those last ones are proving tough to find at decent prices, and these are paperbacks! Two of them I can’t even find as paperbacks, only hardcover or leather-bound editions. One of the books I’ve found in the paperback edition is at the (I think) insane price of $44 (plus shipping).

It’s a strange thing, as for decades I owned two of the books in this series. Then, this year I looked at “filling in the gaps” in my collection and looked at what it would take to get the other books in this series. In this case the gap was huge. The series was published in three states in the late 1980s, early 1990s—paperback, hardcover, and leather-bound. I went with paperbacks since I owned two books in that state; if I chose the hardcover route I’d need to get copies of those same books in that state. Plus, there’s the added expense, given the second-hand collector’s market and prices thereof. Although, as one of the paperbacks fell apart as I read it, perhaps this wasn’t the best investment. Glue is far from permanent.

There’s a strange sense of irony in trying to collect this series, as the publisher behind the series probably could have kept it going longer, but for the fact they flooded the market with a bunch of other series. That spate of different series flooded the market and led to the demise of said publisher, and probably affected the overall small press market in the early 1990s. It’s a case of too much of a good thing.

Nonetheless, I’m now on a hunt to try to locate those last five books in somewhat decent shape and also at somewhat palatable prices. Also, it’s strange to think that a third of the writers in this series have since passed, many while quite young. Thirty years many of them were in their prime. But then, that’s time for you.

I’m currently reading through all the books in order, although I’m a little peeved to have to skip a volume or two. I guess some writers are more collectible than others, right?

Over the years I’ve acquired several SF, fantasy, and horror books from a variety of major publishers as well as small press publishers. Many of the small press publishers rise and fall, while some persist. Some have major cachet within the genres, like Arkham House, while others are notable but ephemeral, like Golden Gryphon; the latter was founded Gary Turner, someone who edited several Arkham House books. After he passed away, Golden Gryphon briefly continued before shutting down, and still managed to publish 63 hardcover books, mostly collections. Dark Harvest published mainly in the horror genre, starting in the early 1980s, and then vanished a decade later. Their Night Visions series ran to nine volumes, was briefly picked up by Subterranean Press (three books), then faded into oblivion.

I see books as both a means to read stories, and works of art in and of themselves. Appearance matters, and it’s far more often the case to see great art and great design in small press books than in ones published by Tor, BAEN, or William Morrow, to name some examples. I don’t know if the artists are paid better in small press, or the publishers just care more. Maybe it’s the fact that small press publishers charge more for their books, and can afford (to some degree) to produce elegant works. Although I still don’t get the attraction of signed/limited vs. trade hardcover editions (maybe it’s the signature?), or even the desire to own books in slipcases (although I have a handful of these, none were acquired for the sake of the slipcase), I remain amazed that writers will sit down and sign 500 pages in one go (or however many signature pages the publisher sends them), and that someone will write in the numbers on those pages.

As far as other small press publishers, I own a few books from a variety of them. I’ll admit that I like that fact that I treasure something from one of these publishers somewhat more than any book from say, Tor Books, or BAEN, or Ace, to name som major publishers. I wish many of these small press publishers still existed. I wish they’d planned better, not rushed themselves into misadventures and bad decisions, or suffered through death or acrimonious splits. Far more than anything in my haphazard book collection, I treasure my Jack Vance Underwood-Miller books. I look at my paperback copy of The Gray Prince, and wonder why they never produced an edition of this book.

Another example: Pulphouse Publishing, which started out with ambitious designs in the late 1980s and then vanished a few years later, had so much promise. They tried a hardback magazine, short collections issues every month, a magazine, and other ideas. I’ve read that they over-extended themselves with too many items too quickly, which is a shame. One would think there’d be a market for smaller press runs of trade paperbacks, each maybe 100-120 words, and published at regular intervals. For some of their output, they published books in various states, such as unsigned paperback, signed/limited edition hardbacks, and even a rarer state. The latter two options seem unnecessary to me, probably only aimed at a refined and narrow collector’s market. The late 1980s/early 1990s mean a great deal to me in terms of authors that I like, and Pulphouse gave a voice to many of them in their various editions. I look at the supposed leading lights of genre fiction today, and rarely is it the case that I would pick up anything by these writers. A different time, different market, I suppose.

The list goes on: Silver Salamander, Axolotl Press, Underwood-Miller, Cemetery Dance, Gauntlet Press, Borderlands Press, Mark V. Ziesing Books, Ursus, Fedogan & Bremer, Donald M. Grant, NESFA Press, Morrigan, PS Publishing, Night Shade, Subterranean Press, White Wolf, Small Beer Press, Centipede Press, and many more. A few of these publishers still exist today. Subterranean Press might be the best in terms of success, while Centipede Press produces the best looking books (and its certainly up there in terms of cost). Charnel House produces quite expensive editions, but none that I’ve never bought, so I can’t say anything about their books. Before 1980 there were no doubt many others, long since shuttered. These days, the numbers have somewhat diminished. Major genre publishers, like BAEN or Tor, continue even after the primary mover has gone, but in terms of the small press, it seems like a labor of love more than anything else. Many of them exist through the labor of love from one person, maybe two, and once the fire is gone, or the reality of cost and profit sets in, all that remains are a few books on the collector’s market.

Over the years, countless genre magazines have died, countless editorials and comments have been written about the death of the short fiction market. Anthologies and collections still sell only a few copies, and it’s too bad that many of these small press publishers, where collections and anthologies make up a large set of titles, exist only for a short moment in time. Then again, I look back at some of the so-called major publishers of the 1980s and earlier, and most of these imprints have since shut down, or been bought out and subsumed into other publishers. Regardless, I’m happy these small press publishers exist. Now, if only they would release their books on their promised schedule…

In the previous post I wrote about having leveled-up the number of owned books in this series to 38. After a couple of recent purchases, that number is now 45. There have been (to date) 55 books published in this series. Of the remaining 10 that I lack, I think the average price for each small hardback is around $100 or more. So, unless a title happens to land in my lap, I may have hit the proverbial wall. At any rate, the shelf that I allocated to this collection is now full.

For the first time, I also have a display case for one group of five books. Each display case fits five specific books, with titles embossed one side. The text, gold on black, combined with the small font size, make the titles hard to read. Still, it’s a nice little case. I’m not sure how many display cases they made, but finding ones available for sale seems more difficult than finding the last 10 books that I don’t own. With 55 books published, these make up 11 sets (they are grouped in sets of five). I currently have five complete sets that would find a home in a display case. I think most of them at this point will remain without this small home.

If I take a look at those remaining 10 books that I don’t own, the hardest ones to find (and most expensive) are probably the Gaiman and Ligotti books, as well as the ones by Malerman and Joe Hill; the other Stephen King son’s book is still available at reasonable prices.

I find it interesting that some authors include introductions, and some just include stories. I enjoy reading the intros as much as the stories, so it’s a shame that those with just stories lack some statement from the author. It’s always interesting to read why they chose specific stories to include in a collection.

Collecting these books has provided an interesting introduction to many new authors. The current series—Past Masters of Horror and Dark Fantasy—is two-thirds complete. New books are announced one at a time, so currently we have no idea of the next group of five that round out this series, nor any future series, if one is planned. This is a unique set of books and deserves more attention in the world of publishing and genre fandom.