Books

On Stephen King Rarities #1

I have been a Stephen King fan since a memorable train ride . My teenage years were spent writhing and giggling to his stories, until one fine day, I blinked, and realized that that crusty, fireside voice of his seemed a little too familiar, a tad too self-absorbed by the idea of the legions of Constant Readers hanging on to his every word. His writings seemed to have taken on a rambling, don’t-give-a-fuck quality that did not sit well with my tastes at the time. Like he was dusting off unedited, half-written manuscripts from his early years and hurling them at his editors. Specifically, his brush with death made it feel like he wanted all the unwritten material that bubbled in him—good, bad and ugly—to spout a spray of pages, taking his self-proclaimed ‘diarrhea of the word processor’ to its logical extreme. There were books that I did not finish because they were too self-indulgent. CellDreamcatcher, From a Buick 8.

But times changed, and I read Joe Hill, who reminded me how good his dad had been. Once I took a hit of King Sr’s newer stuff, it was hard to ignore the fact that the guy still had it. The Bill Hodges trilogy was fantastic, as was Revival. I began to keep track of Stephen King releases all over again, and began a reread of the older books. Turns out they still held up, yay.

And one fine day—because Marie Kondo or not, I am still a covetous creature at heart—I found myself wondering about how fruitful it would be to own signed copies the King books that I loved.

Background: Finding Signed Stephen King Novels

It’s easy to find signed Stephen King books for sale. If you want, I could give you two that I have lying around, or fourteen, if you give me a minute with that pen. What I mean is that it is illogical to buy a book that says “signed by Stephen King” unless you are very sure of the provenance. Counterfeit signatures abound so much that California recently passed a law to discourage fakes. This happens to be a terrible piece of legislation that, though well-intended, threatens small booksellers, some of whom are taking legal action against it. The only way of legitimately getting an authentic signed book is to attend a King talk or signing; but that depends on how lucky you are—a limited number of books are randomly signed by the author and then distributed with the tickets. Add to it the fact that he does not really travel to California, limiting himself to his Maine/East Coast haunts.

It therefore did not make sense to run after any signed book, then – the only alternative for me was an “official” limited edition. Most authors with dedicated fan followings are courted by small presses, like Subterranean Press, Cemetery Dance, Centipede Press, to name a few. These books are solicited in limited numbers, with lettered editions (usually 26 copies only, numbered from A-Z, and sometimes AA-ZZ, with a total of 52 copies) being the creme de la creme of the lot. Numbered signed editions come next, with print runs of a few hundred. Then come the “trade” or “gift” editions, which are usually unsigned. These books have small runs, have high-quality paper and binding, come in slipcases that prevent shelf-wear, and are often illustrated by big-name illustrators. They also feature additional material, if the publishing house is working in collaboration with the writer, and the signatures come on pages that are part of the binding.

Once I dipped my toe into the high-end collectible market, what began as a regardez-touche pas strategy online became a mad carousel of heady information:

  • Who knew that the Doubleday printings of the early King novels were so reviled? Badly printed with cheap glue binding, that’s why. Though first printings command high prices on the market, they were not aesthetically appealing, and King collectors hate them. Cemetery Dance actually republished the first six King books in limited collectible editions recently.
  • I had no idea that King himself owned a publishing house called Philtrum Press based in Bangor, Maine, where he oversaw the printing of several limited edition signed and numbered books. Philtrum’s output included The Plant, an episodic novel that was meant to be a Christmas gift to close King friends, and were later released as a pay-as-you-like e-book in an experiment to test the online market—that didn’t work out, and King hasn’t finished the book yet. The same press also released the limited edition of Eyes of The Dragon.
  • A company called Dragon Rebound is releasing its custom rebound editions of Stephen King’s books. Here’s the concept — they take first edition copies of a King book and bind it afresh, and that feels like an understatement after I have typed it out. Their Firestarter release, for example, have covers made of real sycamore wood that has been scorched by fire. Their copy of It comes in a fucking cast iron case, one that resembles a sewer grate. While these books are not signed by the writer, they are seriously limited. The first three books in the series have 26 copies each, while the fourth has 52. There apparently is a wait-list of 250 people waiting to jump in.

However, getting hold of those signed limited editions involves either crouching like a tiger and not draggin’ your hide when the books come up on eBay—sorry, couldn’t resist—or waiting for the next King book to be solicited by any of those publishers. The latest one to get the deluxe treatment was Sleeping Beauties, from Cemetery Dance. I was this close to ordering the limited edition for myself but the $475 retail price stopped me at the last minute. Also does not help that the book, solicited in 2016, still hasn’t been published. That hasn’t prevented the secondary market asking price of about $600-750, depending on who you ask.

With King collectibles, in order not to lose focus, I set three major goals for myself. Three of my favorite books and specific editions, and happily, I managed to hit all three of them. Let me talk about the first one, then.

The First Book: IT 25th Anniversary Signed and Limited Edition

The first time I saw this book was in a movie called Stuck in Love. It’s a funny, heartwarming movie, where three of the protagonists—father, daughter and son—are writers at different stages of their lives. Long story short, there is a Stephen King cameo (just not the way you think) and the limited edition of the book makes an appearance. I was struck by the cover art, the hefty size and of course, because of the fact that this was It, goddammit (um, what?). The book that King refers to as his ‘final exam on Famous Monsters’, and writes about thus in his afterword to this edition of the book.

The central conceit of the book came to me one day when I was walking across a wooden bridge over a dry stream. The hollow thud of my bootheels made me remember a story from my childhood: “The Three Billy Goats Gruff.” There was a troll in the story, hiding under a bridge very much like the one I was crossing.

“Who is that trip-trapping on my bridge?” the troll would ask, a question that struck me—even as a child—as innocent on top, but very sinister beneath. As my bootheels clomped, I began thinking about the differences between our childhood fears—monsters, abandonment, monsters, mistreatment, monsters, bullies, monsters—and our more mundane adult fears, like whether or not our job’s insurance program covers dental. It seemed to me that we forgot the vividness of those childhood fears as we grew to adults, which might make us uniquely vulnerable to them if they ever came back…not as the shadows of tree-limbs on the wall or an imagined movie-poster monster in the closet, but as real things.

I began to see a structure where I could alternate children battling real monsters with the adults they became twenty-five years later. The monster would be a kind of psychic projector, which would allow me to use all the monsters that frightened me at the Saturday matinees of my youth: the mummy, the Crawling Eye, the werewolf, even that uniquely wonderful Japanese monster, Rodan. That idea delighted me. All the monsters! All the fucking monsters! And what would the central monster be? The one hiding behind all the masks and mirrors? It turned out to be a vast spider (think Tarantula!), but I didn’t know that when I started, and it didn’t matter to me. I understood it would really be the troll. The one hiding under all the bridges we cross on the chancy (but wonderful) journey from childhood to adulthood. The one that finally reaches up and pulls all of us under, which we call “dying.”

Let me point out though, that the gift edition appears in the movie, and this version comes in a slipcase and is unsigned. The limited edition comes in a faux leather tray-case, and is signed by both King and the three(!!) artists: Glen Orbik, Alan Wells and Erin Clark. There are 2750 copies of the gift edition, but only 750 of the signed version.

I had been tracking the availability of this book online since I saw it in Stuck in Love, and saw the asking price increase steadily over the years even as copies seemed to become scarcer. Thankfully, my timing was just right — a month or so after I bought my copy, prices started going haywire because of the buzz on the movie. Right now, copies are around the $2800 mark. I paid less than half of that for mine. Pictures below are from an un-numbered PC (Publisher’s Copy) sold at auction. Mine is numbered.

Needless to say, the book looks and feels incredible. The silver embossing on the leather tray-case, hell, the tray-case itself begs to be caressed. The pages have a red color on the edge, like blood seeping into the writing. Seeing the signature on the book (this was the first signed King book I bought) gave me butterflies in my tummy. I will be honest: unlike Frank Darabont, who claims to treat his copies of collectible books as if they were reading copies, I do not have it in me to flip through this book to read it. Which is a contradiction of sorts, I know, but I do most of my reading on the Kindle anyway. I like having this copy on my shelf, as a memory of how far I have come from my teenage days of reading Stephen King via half-torn library paperbacks. Every now and then, I pull it out, read a few pages, and marvel at the turn of events that led me to own a piece of King memorabilia.

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Comics

An Annoyance of a Jeep

(A warning: This is a story about seeking and finding a book. Like most book-finding stories on this blog, this has a happy ending)

About a decade ago, I wrote this, after buying a copy of the first oversized Fantagraphics Popeye volume, called I Yam What I Yam.

Popeye, to most people, is this wisecracking cartoony sailor who woos the awkward Olive Oyl and occasionally pops a can of spinach to knock out baddie Brutus. It comes as a surprise, when one reads the original Elsie Segar stories from the 1930s, to find out that Popeye was originally conceived as a hot-headed, muscle-bound brawler. The original character used his fists to make his way out of an argument just as casually as he went about decimating the rules of grammar while talking, his romantic life secondary to his penchant for fisticuffs.

The Segar Popeye stories hold up surprisingly well. You wouldn’t binge them, true, but unlike the staidness of the venerable Prince Valiant and Gasoline AlleyPopeye is much more rambunctious. The characters are inappropriately zany, and prone to antics that have me laughing out loud. It’s strange how Segar’s humor holds up despite our standards for comedy having changed in the last 80 years. Especially as I get older, and I find that work that tickled my insides a decade ago no longer carry the same power. Sad but true.

The Fantagraphics reprints were solid gold. Printed on stiff paper with excellent production values, each volume had a die-cut opening on the front, and was accompanied by essays from the likes of Bill Blackbeard, Rick Marschall, and Donald Phelps. Every volume had its own title, a famous Popeye-ism (or is that Segar-ism?). But my favorite design touch of all was the fact that the six volumes had the letters “P”, “O”, “P”, “E”, “Y” and “E” imprinted at the bottom of the spine. Which meant you would always shelve them left to right, the correct way, and the six books would look great together.

The six books, together.

It was annoying, therefore, that I neglected to buy Volume 5, Wha’s A Jeep, before it went out of print sometime around 2012.

I have a valid excuse — I was in the midst of a cross-continental life-reboot, and part of setting up one’s presence in a new country was the thought that I should stop with the endless materialistic pursuits that marked my twenties. I put a moratorium on book purchases as much as possible, and the newly bought iPad became my gateway to all reading material.

So when I got around to noticing that what should be spelt “POPEYE” on my shelf showed up as “POPE”, I decided to get the two missing volumes, cocksure in the assumption that prices would have probably come down, especially in the secondary market. Volume 6, called “My Li’l Sweepea” was easy enough to find, but Volume 5 was nowhere to be seen! 

Mild correction: it was to be seen, but at prices that caused volcanoes to explode on Jupiter. The book had gone out of print, and like bees who do the Waggle Dance, the listings on all online bookshops featured exorbitant numbers. Don’t take my word for it, dear reader. Go search for “Popeye” or “Segar” on Abebooks, sort by highest price. The last I checked, some acolyte of Beelzebub (and in LA, no less!) was asking for $1190. The next person on the list has a modicum of shame, and is asking for a mere $501. Looks like the free market works for some people. (Editor’s note: these are asking prices, I can’t imagine anyone buying at that price point)

Oh, did I throb and fret with torment. The books on my shelf now read POPEE, and that of course got my gut churning with the kind of indignation that is accompanied by the sound of bells and matronly voices repeating the word “shame” really loud. From the foggy recesses of my checkered past, there arose a Quest Monster, a single-minded creature that creates Ebay search filters, sends missives to all corners of the globe; and nudges book-sellers and book-buyers alike to go poke around ancient shelves. I found myself once again haunting aisles of local bookstores, a near-extinct practice that reminded me, as I stood up after having squatted for 45 minutes, that I was once a fierce and tireless Book Fiend that had fallen out of practice. Friends asked whether translations of the book were acceptable (no) or damaged copies (nope) and if I had contacted Fantagraphics about publisher’s copies (yes, and they had laughed in my face. Gently enough for me to still care about the publishing house though).

Then one fine day in August, the Quest ended. A seller on Amazon put up his “new, undamaged” copy for sale at the grand price of $50. Turns out I had a 30$ gift card from an office event, and 14$ in Amazon points. I swear I could feel the spindles on the server whirl in a symphony of mutual happiness as I clicked on the Buy button. In the back of my head, I wondered if “new, undamaged” meant the covers were barely intact, and if the seller was hiding secrets that were dark and deep. The book arrived ahead of time, and as I gingerly snapped the cardboard envelope open, I held my breath.

It was perfect. It was better than my copy of Volume 4, to be honest. It looked like it was meant to be on my bookshelf.

So what is the moral of the story, dear reader? There are several, actually. The first, of course, is that the story never ends until the series is complete. Banal, I know, but them’s the facts. But wait, wait, yes, we’re talking morals, not facts. So how about this –– consumerism is a vile and insidious parasite, slowly gnawing away at your reason for existence. You don’t really need any of this shit, you know, but somehow you are compelled to add just one more series to your shelf, and make your life feel whole.

The last and most important moral is that if you are into classic comics, it is both a fine and terrible time to be alive. There are more high quality comics in print than at any other point in human history. But, yes, you knew there was a but coming, but FOMO is real in the comics business. Books keep going out of print in a manner similar to series being released on Netflix –– which is, all the fucking time. Do you want to read Chic Young’s classic Blondie strips that IDW reprinted a few years ago? Vol 1 of 2 is out of print. Buz Sawyer by Roy Crane? Vol 2 is out of print. George Herriman’s Krazy Kat? Nearly all of it out of print. Charles Schultz’s Peanuts? The bulk of the 24-volume set is no longer available. Perilous times, friends.

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Albums, Music

Susheela Raman – Ghost Gamelan

This is a good time to mention that Susheela Raman has a new album that came out last year, called Ghost Gamelan.

In case you didn’t know, Gamelan is a form of traditional music from Indonesia, primarily the islands of Bali and Java. The music is percussive, and its origins lie in Javanese mythology, from the story of a king who summoned the gods by playing on three gongs. So while gamelan incorporates a variety of musical instruments, the majority of the world identifies it via the distinctive sound of the metallic and bamboo gongs, xylophones, and cymbals that are used in the ensemble.

Picture from here

The first time I heard the sound of gamelan was, even though I did not know it then, the soundtrack of Akira. The layered, propulsive beats that underscored the violent motorcycle chase sequence in the opening moments of the film was all bamboo and metal gongs. The sound captures the frantic energy onscreen with perfection, and still manages to pump me up every time the beats kick in. For a movie that released in 1988, the music does not sound the least bit dated. (Contrast this with another sci-fi anime epic that released in the same time period -– I adore Joe Hisaishi, but the Nausicaa OST screams its time-period from the first synth-note)

Raman’s album, in contrast to Akira, fluctuates between percussion-heavy pieces (‘Tanpa Nama’) and slow, meditative pieces (‘Beautiful Moon’, ‘Spoons’) that accentuate the moodiness the musical form is capable of. Sometimes, her lyrics and the main melody dance around the traditional music elegantly, yin and yang (‘Ghost Child’); in others, voice and gong echo in unison. ‘Annabel’ is probably the only track that is old-school Susheela, and is a wonder unto itself. Oh, and the last song ‘Rose’ features lyrics by William Blake. While I don’t like quoting promotional material from album releases, the official text describes the music far better than I can:


Javanese music evokes  the invisible; ancestral presences, old religions, volcanic rumblings, and court intrigues. A sensuality of appearances, decorum, ritual and procession runs to trance and possession. Meanwhile, Raman’s songs here are meditations on change, transformation and mortality. Lyrics reflect on uncertainties cast by memory, desire and the ephemeral.  In this album, tonality and rhythm are questioned and de-centred, just as much as they are asserted. Some records achieve a fixed quality but this record is very ‘alive’, or volatile, both in the performances but also in the way it shifts as you hear it. The vitality of the interactions, of the musical cultures misbehaving with each other, result in a sound more ‘unearthly’ than ‘world’.

https://bit.ly/2PpKqxa

A major part of the album depends on the skills of Raman’s collaborator, Javanese musician Godrang Gunarto and his ensemble. You can see them live here (apparently, they have been touring together since 2017) , wait for 3:42.

One of my favorite experiences with gamelan was a Hammer museum exhibit called The Gamelatron, from two years ago. This was an open-air installation featuring a five-piece kinetic sculpture that used robotics, metal gongs, and timers to play gamelan-inspired music. Viewers were encouraged to lounge around in seating areas and soak in the harmonies that played throughout the day. It was a blissful hour, and I remember coming out of the exhibit feeling rejuvenated.

I loved revisiting the music of Susheela Raman. It’s been 13-odd years since I heard Love Trap for the first time (and forged a life-long friendship in part because of a mutual love for her album). I hadn’t listened to her in years; a Whatsapp message earlier this year brought her again into my periphery, and this apparently is what I missed since 2011:

  • a 2011 album called Vel, which I never listened to
  • a cover of a Naushad song called ‘Mohabbat Ki Jhoothi Kahaani’ for a 2013 movie called Kajarya (which strays into familiar territory as ‘Yeh Mera Deewanapan Hai’ from Love Trap)
  • a strange 2014 album called Queen Between, which features Raman collaborating with neither available on Spotify in the US, nor via any online music stores. Amazon has a (used) CD for sale, so it looks like this was never released in the US. So here we are, in 2019, unable to listen to an album with a few keystrokes and minimal latency. What is this world coming to?

At this point, our intrepid music explorer remembers this little-known site called Youtube, and he blushes at his tirade against digital tyranny. “I recant”, he exclaims, as his senses are filled with chocolate and chiffon, marshmallow and clouds. Behold, unbelievers, the joys of ‘Sharabi’, by Susheela Raman and Rizwan Muazzam.

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History, Today I Learned

A design consideration

The renowned American designer Charles Eames and his wife Ray Eames were once asked by the premier politician of a friendly country to evaluate the effect of Western technology, specifically design, on their culture. There was also the question of how the fledgling state could benefit from the Eames’s input.

The Eameses, true to their mode of working, went all in. In their report, submitted one year later, they went to great lengths to explain how true design is intuitive and yet evolutionary. As an example, Charles talked about the thinking that might go into designing a simple vessel that one might use to carry water.

  •  The optimum amount of liquid to be fetched, carried, poured and stored in a prescribed set of circumstances.
  • The size and strength and gender of the hands (if hands) that would manipulate it.
  • The way it is to be transported—head, hip, hand, basket or cart.
  • The balance, the center of gravity, when empty, when full; its balance when rotated for pouring.
  • The fluid dynamics of the problem, not only when pouring but when filling and cleaning, and under the complicated motions of  head carrying—slow and fast.
  • Its sculpture as it fits the palm of the hand, the curve of the hip.
  • Its sculpture as complement to the rhythmic motion of walking or a static post at the well.
  • The relation of opening to volume in terms of storage uses—and objects other than liquid.
  • The size of the opening and inner contour in terms of cleaning.
  • The texture inside and out in terms of cleaning and feeling.
  • Heat transfer—can it be grasped if the liquid is hot?
  • How pleasant does it feel, eyes closed, eyes open?
  • How pleasant does it sound, when it strikes another vessel, is set down on ground or stone, empty or full—or being poured  into?
  • What is the possible material?
  • What is its cost in terms of working?
  • What is its cost in terms of ultimate service?
  • What kind of an investment does the material provide as product, as salvage?
  • How will the material affect the contents, etc., etc.?
  • How will it look as the sun reflects off its surface?
  • How does it feel to possess it, to sell it, to give it?

The country in question is India, of course, and this object under consideration is a lota, that traditional metal water vessel used across the subcontinent. In their report, they wrote:

Of all the objects we have seen and admired during our visit to India, the Lota, that simple vessel of everyday use, stands out as perhaps the greatest, the most beautiful.

The Eames Report was submitted to Pt Nehru and his cabinet in 1958, and in 1961, the National Institute of Design was founded in Ahmedabad, as an autonomous institute devoted to research, service and training in industrial design and visual communication. It now has five campuses across India, and is still going strong.

An interest in mid-century design had me reading about the Eames’ lives, specifically via the book The Eames Primer, written by Eames Demetrios, one of Ray and Charles’ grandchildren. The India episode came up as I flipped through the pages at a bookstore, and made me realize I had no idea that the couple were that closely entwined with the history of modern Indian design, specifically with NID, even though I have known and even worked with friends who were graduates from the institute.

While I did think of getting a classic Eames recliner when it showed up in Costco, of all places, the Herman Miller price-tag is a little too daunting for me at the moment. Seriously, if it is a toss-up between a chair and an entry-level Sandman page, you know I would pick the page.

But I could not resist picking up a knock-off Eames recliner from a local vintage furniture shop earlier this year. Turns out there were a lot of customers gnashing their teeth between the time I paid and the chair got delivered home.

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