Showing posts with label Vintage Paperbacks. Show all posts
Showing posts with label Vintage Paperbacks. Show all posts

Monday, April 14, 2014

The Shocking Hard-Boiled World Of Librarians!

by Stephen J. Gertz


They take no guff from deadbeats.

Original cover art by Casey Jones for Crackers in Bed
by Vic Fredericks. Pocket Books 1053 (1955)
.

Books and snacks in the boudoir are their after-hours business - and business is good.

Original cover art by Peff (Sam Peffer) for ?, London: Pan Books.

They're know-it-alls with only one answer - the one that men want!

Original cover art by Darcy (Ernest Chiriaka) for Dearest Mama
by Walewska. Digit Books 393 (1956).

They read trash for breakfast, season it with tawdry filth, chase it with smutty little stories, and reach their bliss multiple times but it's never enough to satisfy their primitive hunger!

Original cover art by Bill George for Haunted Lady
by Mary Roberts Rinehart. Dell 814 (1955).

Though they get creeped-out by wacko stalkers with twisted desires,

Original cover art by Rafael DeSoto for The Girl From Big Pine
by Talmadge Powell. Monarch 483 (1964).

they're always willing to go out on a limb for a sweet daddy-o with dangerous eyes and a savage smirk!


They're merciless with bimbos who avoid books,

Original cover art by Reginald Heade for Plaything of Passion
by Jeanette Revere. Archer Books 57 (1950).

and possess mad, unholy desire and strange diabolical hate and all-consuming love for abbreviations formed from the initial letters of other words and pronounced as a word.

Original cover art for The Case of the Rolling Bones
by Erle Stanely Gardner. Pocket Books 2464 (1949).

They play craps with their reputation and gamble away their morals for a chance at the big time - but a good time will do!


They're a strange cult into weird hats and bizarre dining rituals,

Original cover art by Verne Tossey for The Case of the Lonely Heiress
by Erle Stanley Gardner. Pocket Book 922 (1952).

with sensitive janes overcome in the public john by loathsome forces beyond their control!

Original cover art by Rafael DeSoto for Mr. Parker Pyne, Detective
by Agatha Christie. Dell 550 (1951).

But when those sensitive janes detect halitosis and rank B.O. wafting their way they smell trouble and it's pine-scent Mace® for the great unwashed with library cards!


They're no patsies, they ain't like Dr. Jennifer Melfi. Talk therapy don't cut it for some and she knows it.

Dr. Melfi: That Departures magazine out there. Did you give any thought at all to someone else who might wanna read before you tore out the entire page?

Tony Soprano: What?

Dr. Melfi: It's not the first time you've defaced my reading materials.

Tony Soprano: You saw that, huh? People tear shit outta your magazines all the time, they're a mess. I try to read 'em.

Dr. Melfi: I don't think I can help you.

Tony Soprano: Well, change 'em. Bring in some new shit. 

Dr. Melfi: I mean therapeutically.

Tony Soprano: Whoa, whoa, whoa, whoa, whoa, OK? Now what the fuck is this? You're, uh, firin' me 'cause I defaced your Departures magazine?

No, when L-Girls are confronted by a chronic defacer of library periodicals they don't mess around. When they say get lost they mean take a long walk off a short pier: they cancel his subscription to life; you won't see him around no more; he sleeps with the fische.

Original cover art by Gerald Gregg for Who's Calling?
by Helen McCloy. Dell 151 (1947).

Silence in the stacks? Tell it to the library card-holding psycho with logorrhia and a Van Gogh fixation!


Who knows what evil lurks in the heart of the library book-drop box? Drop-offs, droppings, or rotting, vermin-infested fast-food left-overs? It's a dirty job but someone's got to do it.
 

And how 'bout that famous writer of L.A.-noir novels who visited his local branch of the LAPL, hit on a married reference librarian I know, wouldn't take no for an answer, kept sending flowers to her, and didn't stop his unwelcome advances until she flipped him an oath and he skulked off and out of the library?

Original cover art by Rudolph Belarski for Don't Ever Love Me
by Octavus Roy Cohen. Popular Library 332 (1951).

The fact that she fought for her intellectual freedom to be left alone while wielding a heater to punctuate her point may have had something to do with it. He had an acute fear of perforation by a stacked n' sultry long tall sally with a MLS, a gripe, and a gat. Yet where had she been all his life?
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All images courtesy of Professional Library Literature with special thanks to the anonymous creator of these brilliant book parodies, who, I suspect, may be in fear of losing their job if outed. Additional thanks to B.T. Carver of LISNews for drawing our attention to this delightful webpage. There are more of the same on the site.

The Sopranos dialogue from Episode #85, The Blue Comet (2007), written by David Chase and Matthew Weiner.

Those with knowledge of the unidentified books (or pulp magazines) are encouraged to leave a comment.

Monday, March 31, 2014

Super Copy Of William Burroughs' Scarce Digit Junkie $15,000 At New York Antiquarian Book Fair

by Stephen J. Gertz


A copy of the incredibly scarce first U.K. edition of William S. Burroughs' Junkie, published in London by Digit Books in 1957, is being offered at the upcoming New York Antiquarian Book Fair, April 3-6, 2014. Inscribed by Burroughs to his friend, Phoenix Bookshop owner Robert Wilson ("For Bob Wilson / With all best / wishes / William Burroughs / as William Lee") and in unusually wonderful condition, the asking price is $15,000.

Yes, that's $15,000 for a mass-market paperback book. But it is the most difficult Burroughs "A" item to acquire and one of the most collectible vintage paperbacks of all. It is definitely the most desirable drug-lit. paperback.

Banned by British censors immediately upon publication with all copies in retail circulation ordered returned to their distributors and then all copies in distributors' warehouses commanded to be destroyed, few copies have survived. I've only seen three copies in over thirty years of collecting and book selling, the last one in 2002. That copy, uninscribed, was owned by a friend who sold it to a British dealer for $5,000. What a difference twelve years and an inscribed copy with stunning association in excellent condition makes. This copy is likely the finest extant; if there's a better one it has yet to surface.

William S. Burroughs, c. late 1970s.
Photographer: David Sandell.
Provenance: Though not noted, from the collection of Tuli Kupferberg.

"For many struggling writers and poets of the latter half of the twentieth century, Robert A. Wilson [b. 1922] was a familiar and comforting presence. As the third proprietor of the Phoenix Bookshop in New York City from 1962 to 1988, Wilson provided both encouragement and financial support to beginning writers. A great lover of literature, Wilson specialized in rare books and manuscripts and shipped his material to enthusiastic readers in all parts of the world.

"Through the bookshop, Wilson published the work of many notable writers, including Gertrude Stein, Marianne Moore, W.H. Auden, Allen Ginsberg, Elizabeth Bishop, and Richard Wilbur. During his twenty-six year tenure as the proprietor of the Phoenix, Wilson oversaw the publication of no less than forty-three volumes.

"An avid collector of rare books and manuscripts for his own personal collection, Wilson himself is the author of more than a dozen volumes, many of which he published on a mimeograph machine in the back room of the Phoenix. Among these are Auden's Library (1975); Marianne Serves Lunch (1976); Robert Haggard's She (1977);  Faulkner on Fire Island (1979); and Tea With Alice (1978), an interview with his friend, Alice Toklas.

"In 1988, financial difficulties forced Wilson to close the doors forever, thereby ending the Phoenix's fifty-six year history" (University of Delaware, Special Collections, Robert A. Wilson Collection).

Wilson's memoir, Seeing Shelley Plain ( 2001), relates how he transformed a small, obscure book shop into a internationally renowned literary harbor. Within he writes of his close, long-standing friendships with some of the great figures of 20th century literature, including Marianne Moore, W.H. Auden, and Burroughs, and provides mini-biographies of many famous "Beat Generation" poets, including Allen Ginsberg, Diane Di Prima, Gregory Corso, and Michael McClure. It also contains a previously unpublished piece by Burroughs.

When Junkie was originally published in the U.S. in 1953 by Ace Books it was issued in a two-fer edition inversely bound with a reprint of ex-Bureau of Narcotics agent Maurice Helbrant's 1941 Narcotics Agent. By doing so Ace exploited the contemporary craze for dope-themed literature but played it safe in a hostile environment that in 1952 had seen the United States Congress hold hearings on literature it considered morally repugnant for children and of dubious cultural or otherwise value to adults. Ace took no chances, correctly reasoning that Helbrant's tough anti-dope book would mitigate Junkie's unapologetic, outlaw romantic, almost positive view of heroin use.


The British edition - the first separate edition of Junkie - without the influence of Helbrant's book was a bit too much for British authorities. The back cover to the Digit edition, a masterpiece of sensational drug eroticism, didn't help. Falling firmly onto the censors' list of Yikes! its overt message of sex and drugs was not one the British wished to be delivered.

The front cover art to the Digit edition recreates rather than reproduces Al Rossi's original for the Ace edition and, strictly speaking, attribution should read, "after Al Rossi"; it is a repainting of the original with subtle differences in color, framing, the figures' hair, face, etc.


The book is being offered by Brian Cassidy, Bookseller, who, in celebration of Burroughs' centennial, is devoting an entire display case to Burroughs material, including the photos seen here, at the Fair, which will include another scarce gem, a precious copy of the 1957 off-print of Burroughs' Letter From a Master Drug Addict To Dangerous Drugs, which originally appeared in Vol. 53, No. 2 of The British Journal of Addiction (1956). A notorious Burroughs rarity, it was issued at his request in a print-run estimated at no more than fifty copies, tops. In excellent condition it is being offered for $3,000.

Letter From a Master Addict..., is, as critic Carol Loranger has written, "one of Burroughs' most subversive pieces of comic writing. The 'scientific' language and deadpan asides both anticipate and replicate...the 'scientific' language and asides of much of the narrative of Naked Lunch...The language of the article, together with Burroughs' heavy use of passive constructions and medical jargon, careful attention to definition of terms, and (for botanicals) use of Latin species names, combines with its encyclopedic organization and tabulations of data to effectively imitate science writing of the day - an imitation Burroughs then undermines with odd anecdotes" (Postmodern Culture, Volume 10, Number 1, September 1999).

William S.. Burroughs, c. 1962,
with Antony Balch in the Beat Hotel, Paris.
Photographer: Nicolas Tikhomiroff. $4,000.

The fact that this piece by Burroughs (whose Junkie pseudonym, William Lee, was blown by this time) appeared near simultaneous to the Digit edition of Junkie likely helped doom the book's appearance on the British welcome wagon of wholesome literature, William S. Burroughs a serious saboteur of mainstream cultural and moral values. 

So, go to the 2014 New York Antiquarian Book Fair, with over 200 expert dealers from nearly twenty countries around the world exhibiting, check your steely dan at the door, go to the booth of Brian Cassidy, Bookseller, wish Burroughs a happy 100th birthday, and drool over a fine selection of his contributions to the decline of Western civilization.

Afterward, visit the offices of Dr. Benway, Burroughs' go-to medico, who doesn't give a bat's butt about a patient's state of mind but has some marvelously graphic things to say about how to remove a patient's brain with the sucker none the wiser and better off for its excision. In a brainless world the brainless are kings with the brainful at a distinct disadvantage.
__________

Images courtesy of Brian Cassidy, Bookseller, with our thanks.
__________

It's about time and long overdue that a census be taken of all extant copies of the Digit edition of Junkie. Any volunteers?
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Wednesday, July 17, 2013

Harlan Ellison Gets A Haircut

by Stephen J. Gertz

Hollywood haircut noir.

Harlan Ellison did a book signing in Hollywood last weekend. He got a haircut first.

I don't know how many haircuts Ellison gets each year but the media was alerted for this one. He's seventy-nine years old but not on death's door; this wasn't Harlan Ellison's Last Haircut. But it was a Harlan Ellison haircut, nonetheless. Stop the presses.

Considering that he got it at Sweeney Todd's Barber Shop on Hollywood Boulevard we're fortunate that it wasn't something more. Trader Joe's is not offering 100% All-Harlan Meat Pies this week.

Sweeney Todd's offers party services and will, upon request, screen vintage stag films for guests, a classic movie projector running the sin through its sprockets. This occurs at night, after hours. No stag films during Ellison's haircut: it was daytime and the clips were strictly of the scissors kind. Harlan merely needed a little taken off the top and around the ears with neckline cleaned up. But he wound up getting styled.

Prelude to a pompadour.
Photo credit: Miriam Linna.

I arrived late, Sweeney Todd's was packed inside, a crowd of Ellisoniacs piled outside, and the two bodyguards the publisher hired for the occasion (appropriately dressed  as '50s juvenile delinquents  because Ellison is the king of JD-lit. amongst other literary crowns he wears) blocked my entrance. Through the window I saw Harlan sitting in the barber's chair. He'd been regaling those inside with 100% pure Ellison, which is to say he was outrageous, funny, profane, provocative, acerbic, funnier still, insightful, and totally entertaining. I didn't hear any of it but it's a given that when Harlan Ellison opens his mouth to an audience pearls of all grades and colors fall out of it.

Haircut over, he made it to the front door, looked directly at me through its window, got walleyed, enthusiastically pointed, then spread his arms and mouthed "Oh, my God!" Somewhat puzzled by his effusive display I pantomimed my own greeting in return. A moment later he walked out the door with his wife, Susan, and bodyguards in tow. "Great to see you!" he said as if I was his long-lost best friend. I was touched. "Great to see you, too," I said, as if he was my long-lost best friend I never knew I had and lost.  Surrounded by the adoring he introduced me to Susan: "Tell her who you are!" I did while he was distracted by the press, which pressed close, the potential for sterling sound bites too overwhelming to let pass.

He was wearing a black t-shirt under an open button-down. The t-shirt read, "What if the Hokey-Pokey was really what it's all about?," existentialist despair with mordant pop-culture wit ala Ellison. So, we put our right foot in, we put our right foot out and pokey'ed down the street to La Luz de Jesus, the book, art, and pop-culture gallery where Harlan was giving a talk with Q&A followed by a signing for Pulling A Train and Getting in the Wind. These twin collections of Ellison JD short stories were recently published by Kicks Books and reprint those in Ellison's Sex Gang by Paul Merchant (Nightstand Books, NB 1503, 1959) with others from the late '50s - early '60s. Kicks is the wild paperback imprint out of Brooklyn and home to "Hip Pocket Books," the reflection of the all-consuming pulp-culture sensibility of their publisher, Miriam Linna. She's the reigning Queen of Cool whose irrepressibly enthusiastic, tongue-in-torrid-cheek happy-go-hard-boiled fanzine ad copy reads like a rush down a dark alley on a moonlit night in Pulpville in service to moving the merch with an irresistible pitch.

"All hail the first hip pocket volume of Ellison short stories culled
from the rarest of his titles, SEX GANG, which was issued under
the name of Paul Merchant in 1959. The wild set of psychosexual
gangland tales is finally available again, fifty years later, spanning
two volumes which collect all of the stories in the 1959 book plus
an unhealthy dose of lost fiction from the persistent pen of the
grand master of all things tainted, terrible, torrid and terrific."

The gallery was packed; there was no room to wriggle. A sardine would have been thankful to be in a can. Harlan moved through the crowd toward the front; I faded into the audience.

After an amusing introduction by comedian Patton Oswalt (whose recent Star Wars-themed filibuster on Parks and Recreation has gone YouTube viral due to its inspired high-insanity quotient) Harlan took the podium and for the next half-hour he took it for a ride.

Harlan mugs for Patton Oswalt's camera.

Don't get Harlan Ellison started on the stalkers, creeps, and miscreants that have plagued him over the years. Death threats have come his way like confetti at a convention. He doesn't shoot from the hip so much as bazooka from the shoulder and this bugs some people, particularly those with loose hinges. Ellison doesn't take kindly to loons in his yard at night with shotguns. It offends his street-sense of courtesy and he has no compunctions about dealing directly with such hazards. On one occasion he disarmed the intruder and nailed him to a tree. This may seem extreme but in Ellison's telling the episode was a dark Looney Tune™ and the only thing missing was an anvil falling on the bum's head; he got off easy with the nails, and Harlan, naturally, nailed the story's laugh lines.

I wouldn't interrupt Harlan Ellison in mid-sentence if I were you. He takes no prisoners. You'll be impaled but the audience will scream with delight. You may, however, float an inch off the ground with a beatific smile afterward, as did one guilty party I saw. To be cursed by Harlan Ellison is to be blessed; you have been anointed with his words. It's like getting ranked-out by Don Rickles: it's a badge of honor and only the humorless complain.

"Hot on the heels of PULLING A TRAIN comes its savage sister
GETTING IN THE WIND, whipping up more gritty street life odes
circa 1959! Perfect the pair with both volumes - together, they
pack the fervor of a genre too wild, too true, too traumatizing
for tepid tempers - this is the neckmeat for a new breed of reader,
a glittering illiterati channeling raw emotion and constant
visceral stimulation. Without this pair, friend, you are lost."

Harlan Ellison has been called contentious, abrasive, and argumentative. He knows he can be that way sometimes. Considering the many putzes he's had to contend with over the years you'd be contentious, abrasive, and argumentative, too. Robert Bloch once said that while other writers take infinite pains, "Harlan gives them."

He has a healthy ego. Some think it's too healthy. But a novelist without an ego solidly in the pink ain't much of a writer. So, when a young guy asked him what he thought of Philip K. Dick during the Q&A I froze. Uh, oh, I thought, this is a Harlan Ellison book event; Harlan Ellison is performing (because Harlan Ellison appearances are performance art); Harlan Ellison is one of the greatest science-fiction writers the world has ever produced; hell, it's Harlan-Time! and this chowderhead is asking about another author, one in the same genre? I thought the question steel to Ellison's flint and expected sparks to fly.

Harlan grew quiet. It was a two-part question, he carefully replied. What do I think of Philip K. Dick as a writer and what do I think of Philip K. Dick as a man?

Ellison adores 80% of Philip K. Dick's work, it's beyond compare. The other 20% he doesn't care for, Dick's theologically-themed novels. Ellison isn't into spirituality, he prefers gritty, he says. As for Philip K. Dick, the man, Harlan began then stopped himself, afraid that he might say something that would get him into trouble. He earlier expressed a strong aversion to computers, the Internet, social media and hand-held digital devices that can take a snippet and turn it into a tempest in ten minutes. After measured consideration he simply said that when Dick was in the mood he could be the most charming person in the world. When he wasn't in the mood, well..., and he let it go at that.


There was one area in which Ellison admitted satisfaction in besting Philip K. Dick. Dick was only married five times. Susan is Harlan's sixth wife, their marriage in its twenty-eighth year. "I finally got it right!" he said. This after he admitted to being a swordsman in youth, advancing with his sabre five, six times a day, starlets too enchanted to parry his lunges nor want to. You'd think that level of activity would affect his writing schedule but this is a man who used to make in-store appearances as writer-in-residence as window display, sitting at a desk with typewriter and banging out work in progress to draw passersby, mutli-tasking as silent, preoccupied barker.

As long as he was talking about sci-fi colleagues he expressed his grief over Richard Matheson's recent death. Matheson was a giant in Ellison's book and the world lost a master.

At this point the line for signing snaked out the door of La Luz de Jesus, the natives were getting restless, and it was time for Harlan to move into the adjoining space, sit at a desk and begin that part of the party, and this was, indeed, a party.

"EXCLUSIVE TO HARLAN ELLISON'S PULLING A TRAIN In step with all books
in the Kicks paperback line, a 'sidekick' perfume has been formulated,
street-tested, bottled and packaged. SEX GANG is the heady scent
that tells the world OFF! Exclusive, limited, and totally dangerous. With
miniature switchblade comb. Arrives bottled in authentic Italian half ounce
Baralan bottle, boxed in signature Kicks Books Co. gift box."

I had to leave before the signing began. I wedged through the crush, went up to him to say goodbye, and our farewell was as warm as our hello. I still didn't understand why but I enjoyed it. He seemed to enjoy it, too. We both enjoyed it and I saw no point in spoiling the enjoyment by questioning him in public, putting him in an awkward position, and blowing the good vibes. I noticed a few people checking me out, like who's this guy who seems to be such a good buddy of the Great Man?

I'd met Harlan Ellison exactly once, a while ago for a total of maybe thirty, forty minutes or so. What did I do right to earn a generous spot in his memory? Maybe he had me confused with someone else. When he earlier told me to tell Susan about myself it could have been a dodge to discover who I was but at that moment he was besieged and may have simply delegated the introduction for convenience.

Isaac Asimov once noted that "Harlan uses his gifts for colorful and variegated invective on those who irritate him - intrusive fans, obdurate editors, callous publishers, offensive strangers."

Harlan Ellison doesn't suffer fools gladly. In fact he doesn't suffer at all; he makes them suffer. I have the sense that he's annoyed by 99.9999% of the population. While he respects his fans and, up to a point, appreciates their attention, he has no use for flatterers. Perhaps, then, Harlan didn't think me a fool, was not annoyed, nor considered me a fawning supplicant, intrusive, irritating, or offensive  -  though I've been all those things with others, at times. I've been awestruck by a celebrity only once in my life and that was when I had lunch with Yoko Ono a few years back during a book fair in New York and interviewed her for Booktryst. I  felt like a blubbering idiot throughout the experience. Don't tell him but I'm in awe of Harlan Ellison. I just keep it under wraps and behave like a normal person, no matter how alien I actually am.

"EXCLUSIVE TO HARLAN ELLISON'S GETTING IN THE WIND, Like all
Kicks Books fragrances, SIN TIME is created from the world's
finest floral distillates. A scent can evoke the memory of a
stained satin bedsheet or the moonlit hair of a gang deb
teetering down the wet, cobblestone streets of Red Hook.
Extracted from lavender, this ancient scent is symbolic of
magic and mistrust, aiding one in seeing ghosts of gangland past.
A pair of exquisite miniature glass dice are inside each
Baralan bottle."

I wanted to reach out to him later to reinforce the friendship that was welcome news to me. Susan was kind to give me his secret contact info, which I'd lost, a mail drop located in [redacted] within L.A.'s San Fernando Valley. He doesn't do email and few get his phone number. It may have been more interesting but I feel lucky he didn't ask me to place a gladiolus under a garbage can at the corner of [redacted] and [redacted], wait two hours, return, and pick up a coded sandwich bag in the trash can containing his home address written in cuneiform Sumerian.

Cheech Beldone, delinquent, with toothpick.
Photo credit: Patton Oswalt.

I am pleased to report that Harlan and his haircut - "The Cheech Beldone," created by Sween Lahman of Sweeney Todd's and so-dubbed in homage to Harlan's street name when he joined a youth gang in 1954 to research the phenomenon - survived the afternoon, or at least as much as I experienced of it. At seventy-nine years, Harlan Ellison still has a full, lush head of hair. Long may it wave. I want this guy around forever. Make that a permanent wave.
__________

All images other than header courtesy of Miriam Linna, with our thanks.
__________

A case of Kicks perfumes was boosted from the Kicks Books trunk. Anyone with knowledge its whereabouts is encouraged to contact the publisher before Cheech Beldone hunts down the dirty dog and dissects it.
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Monday, June 10, 2013

Caution: These Books Are Too Hot To Handle

by Stephen J. Gertz

Cover art by Lou Marchetti.

Stories that scorch the visual word form and Exner's areas, the reading centers of the brain…Plots that burn…Books that ignite the senses, singe the eyes, sear the emotions.


These are the tomes that try men's souls, too heated to hold…

Cover art by Robert Stanley.

…too torrid to read without flame-retardant underwear.


Summer reading that sunburns...


…Infernos in print...


…Romantic rotisseries.


Books that inflame family and friends...


...cry Hell from Mountain of Fire and Miracles publishing, "a full gospel ministry devoted to the Revival of Apostolic Signs and Holy Ghost fireworks"...


...and commit arson on unsuspecting readers.


The books about off-duty firemen with fire in the pants,


and flaming fly balls that light up the outfield.


The hypothetically explosive books that generate anomalously high energy under certain specific reading conditions that cannot be replicated outside of a library...


or strip joint.


The books about sordid dens where hot wax was made to melt turntables and heat up the ears,


...and made again.


These are the books you read with oven mitts.

And this is the refried title with sizzle lost, a title whose pilot light has extinguished with temperature falling to absolute zero.

It's a title to forever retire, an appellation to entomb in a deep freeze,  a cliché now


__________
__________

Thursday, December 20, 2012

A Lurid Story of Book Dope And Lives Twisted By Mad Desire! A Booktryst Golden Oldie

by Stephen J. Gertz


Hard-boiled dames caught in the grip of a habit beyond their control; corrupt dolls seeking cheap thrills between the sheets of a book; innocents ensnared into the rare book racket, underage girls seduced by slick blurbs, and grown men brought to their knees by bibliographical points that slay dreams in a depraved world.


It's rare book noir, the dark underbelly of collecting. Human wreckage litters the streets of Booktown, the vice-ridden gotham that kicks its victims into the gutter margin, slaves to their twisted desire and lost in a sick world where condition is everything, obsession is the norm, and compulsion the law.
 

That first book seen in a window display, an Internet image, held in the hands - soon, you're furtively ducking into dens of iniquity with bookshelves and rarities behind a bamboo curtain; you've got the shakes and you need something, bad, right now. The rent is due, the kids need food, mama needs a new pair of shoes but let 'em all go to hell, you're a quarto low, you need your shot of heaven, a mainline hit straight to the pleasure centers to bathe in a flood of dopamine unleashed by a new acquisition and sink into careless ecstasy.


It's a brutal, hard-hitting story that rips the tawdry curtain away from this covert world to expose the reckless passion that drives its denizens to the depths of impecunious human existence and insanity.


It's a tale told through posters designed and exclusively distributed by Heldfond Gallery Ltd in San Francisco, based upon vintage pulp fiction book covers. Proprietor Eric Heldfond has been  peddling them for a few years now, leaning against a lamppost on a dark street corner to tempt unwary passersby. I've succumbed to his evil pitch, bought a few, have given them as gifts, and suspect you may wish to do same for friends of dubious character, i.e. book lovin' broads, momzers, and biblio-debauchees - in short, fellow travelers in the shadowland of the sordid habit we call reading. Make yourself at home in the flophouse of the hopelessly hooked: Your local rare book shop.


Never before has the finger of light shone so glaringly on the wasteland of the book collector to pitilessly strip bare this seamy hotbed of unbridled text! 

 "Read any good books lately?" she purred. 
The dame had me right where she wanted me. 
I felt her scan my lines and before I knew it she tore 
off my jacket, and began to paraphrase my favorite part.
She bookmarked me, and how. I didn't complain.
I was a book junkie and there was no escape from this sinister paradise.
 __________

The posters are 8.5 X 11 inches, printed on 68lb. (252 g/mf) / 10.4 mil. heavyweight Premium High Gloss photo media.92 ISO, and priced at $25 each. Custom sizes up to 13 x 19 inches are available. Visit Heldfond's Bibliopulp gallery here.
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Originally appeared on Jume 14, 2010.
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