I’ve been remiss in not putting up more Halloween posts this year, but I’ve been exceptionally busy.
So here’s some footage from the Halloween and Party Expo 2018, including truckloads of creepy clowns:
I’ve been remiss in not putting up more Halloween posts this year, but I’ve been exceptionally busy.
So here’s some footage from the Halloween and Party Expo 2018, including truckloads of creepy clowns:
I picked up another Philip Jose Farmer paperback original associational copy:
Farmer, Philip Jose. The Purple Book. Tor, 1982. First edition paperback original, a Near Fine- copy that, while tight and square, shows numerous small spots of rubbing across the front and rear cover as well as slight age-darkening to pages. Inscribed to fellow SF/F author Robert Adams of Horseclans fame: “To Bob Adams/From/Philip Jose/Farmer.” Thematic collection, containing “The Oögenesis of Bird City,” “Riders of the Purple Wage,” “Spiders of the Purple Mage,” “The Making of Revelation, Part I”, and “The Long Wet Purple Dream of Rip van Winkle.” Bought for $10 off eBay.
Another Farmer PBO inscribed to an SF author in my library can be found here.
Amateur video faking technology is improving all the time, so enjoy some fake “hey, we put a digital Cthulhu behind some clouds” footage.
I picked up two Centipede Press books, one off eBay and the other direct from the publisher:
Today is the 139th birthday of American poet Wallace Stevens. Along with T. S. Eliot, Stevens was one of the great modernist poets, and you might have read “The Emperor of Ice-Cream” (another great poem) in high school.
Like most poetry, Stevens work is hit or miss for me, but when he’s on, he can knock you flat.
Here’s one of his best, and one of the best opening lines of poetry ever.
She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.
For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.
If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.
Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.
Oh! Blessed rage for order, pale Ramon,
The maker’s rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
Welcome to The October Country!
Would you believe there’s a Twitter feed dedicated to posting pictures of scary toilets?
— Toilets With Threatening Auras (@scarytoilet) September 24, 2018
— Toilets With Threatening Auras (@scarytoilet) August 15, 2018
This is the most terrifying bathroom experience I've ever had pic.twitter.com/im27ecMDIA
— Brian Vu (@brivu) July 22, 2018
— Toilets With Threatening Auras (@scarytoilet) September 7, 2018
Sometimes you overpay for something because you couldn’t afford it when it came out, or to get the whole set.
Both of these volumes were produced by the Vance Integral Edition project (VIE for short), and were produced separately from the 44 volume VIE set (which I also own). I thought the volumes too pricey for what you got when they were announced, but since I’m closing in on a complete Jack Vance hardback collection, and own a VIE, I paid a premium for each.
Neither of these volumes comes to market nearly as often as the stated print runs would have you believe, so I was happy to snag these.
I lack but one other VIE volume, the “science fiction preview” volume containing The Languages of Pao and The Dragon Masters, which I’ll have to put on the want list even though I already have first edition hardbacks of both… (Update: Now I have that as well.)
Here’s a book I picked up more for the state and the publisher than the author. Dark Harvest was a very active small press from the early 1980s into the early 1990s. They published primarily horror and science fiction, and did very well with it, but managed to kill themselves off by branching out into mystery.
One of the things they did was do lettered states of some of their books in wooden slipcases, AKA “slipcrates.” I’ve always found them rather attractive, and keep an eye out for them when I see them at an affordable price.
Williamson, Chet. Dreamthrop. Dark Harvest, 1989. First edition hardback, Letter G of 26 signed, lettered copies, a Fine copy in a Fine wooden slipcase. Horror novel. Chalker/Owings (1991), page 121. Chalker/Owings (2002), page 1045. Bought off eBay for $49.
The only other Dark Harvest “slipcrate” edition I currently have is George R. R. Martin’s Portraits of His Children (acquired in one of my two big Zelazny purchases), though I do have a nearly complete trade edition run of the Dark Harvest books up to shortly before they started doing the mysteries.
Since the sequel/reboot/whatever is in theaters right now…
Two more signed Ray Bradbury items, both bought off eBay from different sellers: