Lawrence Person's Futuramen

When Pulphouse first unveiled the short story paperback, I remember thinking “That’s stupid.” For all they bragged about “buying a single story for $1.95,” you could buy an entire issue of Asimov’s (with 5-10 times as much content) for $2.50. And, indeed, they were not swift sellers. Though a few of these (the Wolfe, the Lansdales, etc.) became slightly collectable over the years. (And a few of the companion Short Story hardbacks even more so.)

But I bough these from that same collector culling his collection for $1 each.

Almost all of these are paperback originals thus (though some of these have previously shown up as the title stories in collections, like Bloch’s Yours Truly, Jack the Rapper or Zelazny’s The Doors of His Face, The Lamps of His Mouth), though exceptions (like Blaylock’s Paper Dragons) are noted. Some of the early ones (“Loser’s Night,” “Xolotl”) are the first publication anywhere, but most of the stories have appeared somewhere previously. Unlike most Library Addition entries, these will be listed by series order rather than alphabetical by author.

All of these are Fine copies unless otherwise noted.

Reference: Jack Chalker and Mark Owings, The Science-Fantasy Publishers: A Critical and Bibliographic History, 2002, page 719 (numbers 1 through 10), page 721 (numbers 11-20), pages 722 (numbers 21-30). This is what Chalker had to say about the Short Story paperback line:

In January, 1991, Pulphouse continued its expansion with the Short Story Paperbacks and the selected Short Story Hardbacks, although we’re still only half- convinced that these are in any sense legitimate books. What they were, though, was what seemed to be a quick way to make money, and if people bought them, fine. They brought the whole operation as of the start of 1991 at a whopping 80+ titles a year. It should be noted that the paperbacks series was supposed to be originals and reprints, but became, after the initial ones, primarily reprints, a move that, while understandable, seemed to us to take away the one good reason why most people might buy them.

Money held by SF/F/H collectors is a finite commodity, and Pulphouse in the early 1990s seemed to treat it as a limitless resource. If you’re publishing books by Lansdale, Zelazny, Wagner, De Lint, etc., that’s a license to print a little money. But Antieau, Clemence, Caraker? Not so much. Why they thought collectors were going to shell out money for such items is a mystery.

The entire set bought for $61.