Conversation Tree Press: Part II

I'm rather surprised there are 114 copies of the Collector's Edition of Foundation still available, I thought it would be completely sold out -- On the other hand Treasure Island is completely sold out -- no copies of the Standard, Deluxe, nor lettered! And arguably even more surprising, only 110 copies of the Standard Treasure Island were produced. Perhaps they underestimated the demand?

>1 astropi: It was a Kickstarter IIRC. They made about as many copies as collectors purchased while it was open.

I’m not sure selling out this edition on day 1 is necessarily that good of an idea, especially since they are planning on producing the next 2 books of the trilogy over the upcoming years. There is definitely value in having backlog available for new collectors as well.

>3 921Jack: Yes, that's true. Some available copies are a must to attract new customers. At the same time, this is a highly successful launch – all more expensive deluxe copies are sold out and, I presume, a similar result is going to occur with the lettered variant, and nearly 75% of collectors' in the first 3 days

1-2: I suspect more people would have chosen Standard Treasure Island (a very attractive volume, indeed) over Deluxe had it not been for the fact that rights for the entire Weird. series derived from it - and the rights for Foundation from that. While CTP did have a few additional copies to sell (on their own site) after the Kickstarter campaign ended, they probably should have set the limitations a wee bit higher (at least for Standard). As a result, Standard Treasure Island will become a bit of a rarity.

>6 supercell: Ah! great point, that did not even occur to me. Makes sense. I think the Deluxe Treasure is really unique, but wow, the cover for the Standard is just gorgeous, so I went with that :)

>6 supercell: I think that he overestimated the demand for the first few titles and may have overcompensated with Treasure Island. He probably could have sold a few more copies of the standard, particularly as the press becomes better known. That said, I'm sure it won't hurt the overall mystique of the press down the line to have a hard to find early title.

Speaking of which, I noticed that there are only 14 copies of the standard Flowers for Algernon left. I would highly recommend this title and have no idea why it hasn't sold out sooner. I can only put it down to lack of visibility of the press. If it'd been a Suntup release, and all else being equal (and only 250 copies), I've no doubt it would have lasted all of 15 minutes.

>8 Levin40: you are completely correct! I’m surprised every time I go on the site and still see Flowers for Algernon available. The standard is a work of art. Absurd value for money too. The Deluxe is also beautiful - I have a suspicion it will be highly sought after in a few years. I’ll have to see if I can fit a secondary market copy into my budget in the meantime haha

Down to 4 copies of Flowers for Algernon if anyone is still on the fence.

>11 cyber_naut:

Sold out. I'm very glad I got a copy a while back.

Sub Press apparently has some of the CT Foundation available: https://subterraneanpress.com/asimov-f-ctp/.

>13 A.Nobody:

Already sold out. They had only a few copies according to their newsletter.

>7 astropi: On Treausure Island, if there are any collectors out there who wish they’d gone for deluxe rather than stabdard, I’ll probably be looking to downgrade once my copy arrives and would trade + the original cost difference.

The paper in the deluxe appealed to me with all of the relief illustrations, but that standard binding is beautiful, and with Conversation Tree Press books coming fast and furious, I doubt I’ll be able to stick to the deluxes for long.

>16 Ragnaroekk: Amazing they have not yet sold out.
Prediction: 5-10 years from now people will say "dang wish I had an opportunity to purchase Peter Pan and Foundation when they were still available instead of having to pay second-hand prices!"

Are the Subpress versions for all future standards, or just the series? Opened as soon as I got the email, but passed. The Deluxe, and Standard were available. Kind of regret not getting the standard at least.

>19 Undergroundman: The standard is still available from the press directly.

Subterranean Press seems to have copies of all their books so far; as it’s a series, they’d at least have the sequels.

>20 What_What: Yeah, I know. I would rather get a copy that isn't taxed, and has to go through customs. Just don't want to deal with potential issues with international orders if I can buy a copy from an American shipper that inspected the item before shipping out. My experience with Subpress has always been great.

>22 Ragnaroekk: Depends. Subpress, and a few others don't charge taxes to many States. Suntup is brutal if you are local. I get charged California, and Los Angeles taxes for Suntup books. Like $100 extra bucks for a $700 book with taxes, and shipping. Taschen also charges me a Sales Tax of 10.25%.

>23 Undergroundman: That’s tough. Does the CTP site charge you taxes during checkout?

Either way, looks like the ship has sailed on the US retailer option, and 50 copies are left from the press.

I ordered Foundation this morning. The taxes were $0 (for Europe at least).

To avoid non-buyer's remorse, it's time to act. The Deluxe Peter Pan is down to 4 copies now...

>25 David_Mauduit:

Unless you're in a country where no tax is charged on books, you'll most likely have to pay it to the shipping company when the book is shipped, along with the company's fee for charging the tax. That's what happened with my Flowers for Algernon.

>27 SF-72: yes I'm expecting it. I think it will be 6% + custom fee.

27: That depends. In these parts, we generally do the customs declaration ourselves after the parcel has crossed the border, then pay the 10 % (next year: 14 %) VAT directly to the Customs Office. It is all done online these days.

30: And gone!

What a surprise! I would have expected those 27 copies to last well into 2025. A bunch of new collectors (or, possibly, scalpers) seem to have found CTP following the launch of Foundation (41 copies remaining).

>31 supercell: I guess I’d fall into the new collector batch. I picked up the standard for Faun, Flowers and Foundation at the same time. For me at least if a press makes one book I find really interesting, it makes it a lot easier to buy some others that I wouldn’t have ordered.

I would have got the Peter Pan too, but I’m not a huge fan of the text in addition to other considerations. The deluxe edition does look fantastic though.

>31 supercell: It is quite strange. Was it suddenly discovered by the 'J M Barrie Appreciation Society'? Because the poor deluxe Faun (only 9 copies left) doesn't seem to have shifted at all!

>32 Ragnaroekk: Peter Pan was their first book, so I suppose at the time it seemed a good decision. It is, after all, at the lower end of what Suntup produces monthly for their artist editions, which are in a similar price range. But I suppose the press just didn't have the visibility at the time to sell that many. Could be getting there soon though.

>24 What_What: Never tried checking out via the CTP site, but I'd rather not deal with international shipping if I could avoid it.

20 copies left of Foundation. I thought it would have sold out days ago.

>33 ensuen: for what it's worth, I have now handled the standard, deluxe and lettered Peter Pan; the standard, deluxe and lettered Faun; and the standard and deluxe Flowers. They were all great. But among them all, I think the Deluxe Peter Pan might be my favourite. Like you, it's not quite my text, but the production and design of that book was just superb throughout.

>37 ubiquitousuk: By the way, have you read Faun? I have been thinking about ordering a copy as I quite enjoy the artwork but I am unsure of the story

>38 drizzled: I did read it, but I might not be the best person to ask about the story because it is a blend of horror and fantasy, both genres I usually steer clear of. It is written well enough and was an entertaining light read, though. Also, the book design is quite well-integrated with the story. I talked more about that in my review in case you haven't seen it:

https://youtu.be/I7P7g7wXmzQ

I’ve thought about Faun but it is a very short work, albeit generously illustrated. Decisions, decisions…

How do you all feel about the illustrations of Faun? I’m a big fan of CTP’s artistic approach, but in this one case, the art really doesn’t work me, even though I like the story.

For a review of Faun see https://www.librarything.com/topic/359351#n8474269

>38 drizzled: I've also been on the fence re: Faun. It's the one CTP release that I don't either own or have on order in some state. Kind of surprising, because I am a big fan of the "new weird" or "new enchantment" genres to which I think it belongs. The Neil Gaimans and Susanna Clarkes of the world writing Machenesque tales for the 21st century.

The pros, for me, are interesting bindings, nice typography, hand-marbled papers, and genre. The deluxe in particular has a rather innovative "millimeter" binding.

The cons (or at least things that make me hesitate) are the color illustrations, which I like as independent images but look a bit too much like digital paintings to me and don't quite harmonize with the text. The pen and ink drawings are more book-illustration successful, even though simpler. Within the slate of authors writing in this mode, I also haven't read that much by Joe Hill. Finally, though neither shorter text nor high price are instant dealbreakers, the $495 USD deluxe means ~$675 CAD for me at current exchange rates, and that's before any shipping or fees. A lot of fine press counterfactuals start to emerge at that price point.

>37 ubiquitousuk: Very fair, but alas my budget has to curtail my spend at some point. I really enjoyed seeing it in the video you did for the edition, but just never felt the urge to collect it. After the acquisition of an art book that never really resonated with me, I try to be quite strict about liking the contents of a book.

As an aside: Your Folio Society reviews are what really got me into fine press in the first place, so wanted to send a quick bit of thanks.

For those who don't use Facebook, from CTP's page:

A preview of one of Tom Kidd's 9 oil paintings for an edition coming early next year, which will be accompanied by 31 pen and ink drawings of various sizes. As always, Tom has truly outdone himself, and it has been a pleasure to collaborate with an artist whose work I've admired long before the inception of Conversation Tree Press.



edit: This is going to be a translated work.

>47 drizzled:

That's beautiful.

47: A large cavern, a beam of light - and a flock of seagulls. Anyone recognise the title? Something by Jules Verne perhaps?

Gordon Pym might also be a possibility? Near the end "many gigantic and pallidly white birds flew continuously now from beyond the veil"

>51 Ragnaroekk: >50 supercell: I've also thought about Verne. The currently produced RLS's "Treasure Island" was written in a similar period and is also set in adventurous/exploratory expanse.

If not Verne's "Journey to the Center of the Earth", then maybe the illustration depics the Secret Cave from "The Count of Monte Cristo"?

>52 wongie: It was written in English, though, this publication is a translation

"Treasure Island" is on track for delivery in all three states in October.





There might be one or two standard copies available after shipping is completed. In that case, Tony will mention their presence via newsletter in advance.

>54 drizzled: Nice. I like it except two columns.

>55 curiousbook: I like the 2 columns a lot. It fit the style of the book and makes it more confortable to read for a book of this format. They have published a nice post about how the typography process.

>56 David_Mauduit: well I’ll be getting my copy soon and might change my mind about two columns

>56 David_Mauduit: I think I'll appreciate the two columns on all the pages as densely illustrated as this. I think any full spreads without illustration will feel like a bit of a slog to get through. I know the intention was to give it a brisker reading experience, but to me two columns always feels like reading twice as much between page turns.

>58 NathanOv: yes I prefer one column too. But can’t wait to get it and read it again

>57 curiousbook: lucky you! It looks so beautiful.
I only discovered CTP after it was sold out. I'll try to make it myself (won't be letterpessed obviously and will miss most of the illustrations), the paper on the board is easy to find.

>60 David_Mauduit: I have to stop buying same book over and over again I have first edition then I have first illustrated edition and now I will have modern letterpress edition. Relieving my childhood. My all time favorite. I remember how scared I was when pirates came at night to the Admiral Benbow Inn to get a treasure map from Billy Bones. Blind Pew absolutely terrified me

>54 drizzled: Looks great, will be glad to have this one in hand.

Contains a favourite chapter title - What I Heard in the Apple Barrel.

Pre-orders for "Solaris" will start in the week of November 11th. Additional details on are going to be posted on Wednesday with some production updates.

>65 Ragnaroekk: November might also have:

The Hobbit Limited edition Folio society
Parliament of Owls Reading Room Press
Duncan Glen Corvus Works
The Turn Greenboathouse
The Dunwich Horror Heavenly Monkey
Plates for a Herbal Old School Press
An Eye Made Quiet Barbarian

Do we have a release date for St James Park Press The Beauty of Byrne? I think the Fleece press Zero to 44 is meant to be 2024 as well!

>66 DMulvee: i think >65 Ragnaroekk: was saying pre-orders in November.

>67 SDB2012: But all books I listed will need to be paid for in November! Only St James Park Press and Corvus Works took a deposit

>65 Ragnaroekk: >66 DMulvee: Don't forget God Emperor of Dune (Centipede)

>68 DMulvee: Oh crap... I thought I'd already paid for The Dunwich Horror.

Edit. I need to cut down on the presses I follow/buy from. This is getting ridiculous. +)

I didn't even know about the Barbarian Press offering and thought I'm late to the party, I love their books of poetry.

>64 drizzled: Full details are up now here: https://conversationtreepress.com/blogs/news/solaris-pre-order

30 pieces of artwork!

All editions of Foundation are sold out now.

I'm looking to buy one of the Foundation Collector’s Edition and rights. Please contact me if you have one to sell.

Edit : Collector’s do come with rights for this edition, don’t mind me. Good luck !

>79 Ragnaroekk: those little/big maps that are distributed throughout the chapters

I am almost positive that something similar will be included in CTP's edition. Tony is working on it directly with the author :)

>79 Ragnaroekk: Yes, for sure they will, and the plan is to give them a refreshed look while keeping the geography the same.

A little surprise from today:

Ken Liu’s The Paper Menagerie is first title in Short Stops, a new series from Conversation Tree Press dedicated to bringing exceptional shorter works of fiction to life through beautifully bound, letterpress-printed, limited editions that begin shipping immediately upon announcement.



https://conversationtreepress.com/pages/paper-menagerie-ken-liu

The Paper Menagerie is a limited edition of 300 unnumbered copies, letterpress printed by Hand & Eye Letterpress in London, England. It features a frontispiece illustration by Scott McKowen, also printed via letterpress. The book is quarter-bound in Fancy Linen book cloth and custom hand-marbled paper from Paperwilds in a tiger eye pattern. The endpapers are GF Smith Colorplan with a linen finish.

It measures 6 x 9 inches with 28 pages including front and back matter, and all copies are signed by the author and artist. The cost is $110 plus shipping.





Future volumes from the Short Stops series will:

• Only be announced and offered for sale when they are completely finished with shipping beginning on the same day orders are made.


• Feature shorter works of fiction.


• Have a trim size of 6in by 9in, slightly smaller than the 6.7in by 9.5in books done before like Peter Pan and the upcoming edition of Solaris, and do not include a slipcase.


• Have no rights associated with them.

I am tempted, but will have to wait for the public pre-order opening (October 18th, 12PM ET)

>83 drizzled:

And a lovely surprise at that! I adore this story. Ken Liu is one of my three favorite short story writers, the other two being Ted Chiang and Caroline M. Yoachim.

>83 drizzled: Ohh, interesting, I've always felt a significant barrier to entry for people interested in starting with fine press is that everything on a website is often sold out and new editions often come with a 6-12 months lead time. So this is a great idea for people to dip their toe without too heavy a commitment.

I'm mildly confused about the rights system though...

"Always be offered to current Deluxe and Lettered rights-holders first, even though they have no rights attached to them. Rights holders may skip it entirely without losing rights to the next book from the Press."

So rights holders get first dibs (ok) but can choose to skip without losing rights to the next mainline edition (ok). But does that mean they also get first dibs on any additional intervening Short Stops that come between mainline titles?

Lovely edition! I'm definitely interested to see what other short stories they produce. (Ted Chiang would be an amazing addition.)

>85 cyber_naut: that's how I understand this, but there are only 176 rights holders and 300 copies in a single Short Stops edition so each time a newcomer has an opportunity to buy the book

>86 ambyrglow: There was one hint offered by CTP: "There are a number of books in the Short Stops series in the works, including a haunting tale by Ray Bradbury."

>83 drizzled: Got this email as well, and was genuinely excited for the new effort at first. Looks great and is just the kind of thing that hits my sweet spot. I was all ready to buy when I got to the "publisher rights" part.

I am so utterly (obscenity elided) sick of "publisher rights" on every friggin' thing from this press that it's looking like Treasure Island will be the last thing I ever buy from them. Sure, there will be copies left for purchase of this new title after the sacred cows get their turn at the trough, but honestly I've had enough of feeling like second class every time something new comes out.

Maybe I'm the only person who is annoyed by this, so feel free to ignore.

EDIT: And honestly it wouldn't have cheesed me off nearly as much if they had just waited to send the email when the rest of us could buy it, since the valued customers who can buy it already got a separate email about it. Seems gratuitous, really.

>89 Shadekeep: This sounds like the great Suntup debates of several years ago, when the numbered editions were near impossible for anyone without rights to pick up. At least with CTP there are always extra copies without rights. Not sure what the problem is to be honest. Just show up on time on Friday and you'll easily get a copy. In all likelihood it'll last several days or more.

I'll be buying this on Friday

>90 Levin40: Ah, I was editing while you replied, but yes. It's not that I'm worried about not getting a copy so much as it's this constant emphasis on how the rights-holders are the only ones who seem to matter. It's like watching the obsequious waiter in an old film, the one who treats everyone with barely disguised contempt until one of the favorite customers arrive. Then he can't bend over to please enough. Probably I'm projecting quite a bit into this which wasn't intended, but frankly I am heartily sick of it. Like I amended my post to say, send me the email when I can buy it, not when you're so busy fawning over "sir" at his table that I can just sit and wait.

>92 Shadekeep: Well, looking at the rights system from a pure business perspective, that group of customers is critical, as they guarantee a consistent amount of cash flow. I don't see anything wrong with a small gratification from the press, like early access to the pre-order, even if it results in me waiting a few extra hours. At the same time, Tony is very sound with his strategy as he guarantees a fair amount of copies to be available upon launching a new publication.

>92 Shadekeep: hahaha, I can see where you're coming from. But there are different ways of looking at this. If you're a rights holder, you're under the constant threat of losing your rights and feel a continual pressure to buy, buy, buy. It's a burden. The non rights holder, on the other hand, can bask in their freedom to pick and choose whichever title takes their fancy. And frankly, there hasn't been a single CTP title yet that non rights holders couldn't easily acquire if they turned up on time. Plus, I would point out that rights are not something divinely anointed - everyone had the chance to pick them up from early CTP titles. Rights copies of Peter Pan and Faun were sitting around for months.

Anyway, perhaps you're right that today's email should have only been sent to the rights holders. Though on the other hand, now you know when you'll be able to pick one up on Friday ;-)

>93 drizzled: I do understand the reason for the approach, and can appreciate that the core patrons are vital to the business. It's the attitude I take exception to. (And some of that is spill-over from my previous direct interactions with Tony.) The impression I've gotten over time with them is that the rights-holder are literally the only ones that matter, and everyone else is marginal. That's not the feeling I get from other presses with subscription models, especially when it comes to books like this that are entirely outside the rights chains. If you want to give your patrons first crack at them, by all means. Then offer them to the rest of us when we can buy them. Too simple to be practical, I guess.

>94 Levin40: Yah, I am being prickly today, so there's that. The email does serve as a heads-up as well. It just annoys that they constantly mention the preferential treatment of rights-holders, even when it's not especially germane in this case. Maybe that's a way of pushing folks to upgrade to that level. Clearly it ain't working on me. 😜

I am unbothered by preferences granted to rights holders, but I will admit to finding it mildly frustrating that the first line on the page for The Paper Menagerie is "Note: The Paper Menagerie is in stock and begins shipping today" and not until two-thirds down the page do you find "The private pre-order period ends at 12pm ET on Friday October 18th, at which point remaining copies will become available to the public." It doesn't seem like it would have been that difficult to make the opening line "in stock and begins shipping to rights holders today, with public sales opening on Friday." And that would have set my expectations better.

>95 Ragnaroekk:

I don't like it when rights aren't attached to series but everything someone publishes, basically pushing people to buy books they don't really want to keep their rights and others who would love them not getting them as a result. That's unfortunately the case with some publishers that use this system. But my impression of Conversation Tree Press is that (so far) they're making sure that everyone can get a copy, rights or no, so I'm not bothered. Still, Shadekeep has my complete sympathy. This can turn into a sore spot. I've had it up to here with publishers like Lyra's or (a lot of the time) Suntup in this regard. CTP with enough copies available to last at least a few days or Curious King (rights for series only) are much more customer friendly by combining rights with availability to everyone.

>97 ambyrglow:

In addition, they're not all ready to ship so later buyers will have to wait for them to be bound.

>97 ambyrglow: >99 SF-72: Bingo and double bingo.

Thanks all for letting me vent about this. Who knows, by Friday I may be sufficiently over my high dudgeon to actually pick up a copy. After all, the whole nose/face spite thing never leads to a happy outcome. And maybe the announcement emails will improve as the series goes on, too.

>96 Shadekeep: "Then offer them to the rest of us when we can buy them."

If there's a small number available, wouldn't you want to know beforehand so that you could plan? Seems like a benefit for people without rights, to me.

(And, as rights models go, I think CTP is the most customer friendly compared to Suntup, Curious King*, etc., who do not reserve copies for non rights holders on release day. Even Lyra's goes to lottery I believe, which might be fair but is harder to manage as a customer.)

* edit: as noted by >103 Levin40:, i misremembered the Curious King policy, which does reserve numbers above 150 for non rights holders:

"Any future publications over 150, will only come with Series rights"

Thanks for the correction!

>98 SF-72: Just a small point. Curious King do in fact have publisher's rights, just like the others. I think there are 150. Their model is almost identical to CTP.

>97 ambyrglow: it would have stopped me spending so much time looking for a purchase link for sure

>101 abysswalker: I'm taking exception more with how it's phrased than what it's communicating. Nothing wrong with a heads-up, it's how it was put that I didn't care for. Let me give you an analogous scenario.

"Hey kids, we're getting cake! Well, I mean we're getting cake at the table over there. If you're not sitting there then you're not getting cake right now. The kids at that table already knew they were getting cake, but I wanted to let you know they are. You might still get cake too, later, and only if those kids leave any. So yay, we're getting cake!"

So technically, yes, I do like knowing I might be getting cake. But the delivery leaves something to be desired.

I know most of the conversation has been about the nature of preorders, but I have to say that I just love that they're doing this series.

I love the author and story choice, and I love that they've got more short fiction planned that's coming at so much lower of a cost. I'll second the hope that they manage to get a Ted Chiang story as well.

Thanks for the feedback everyone, definitely room for improvement on the messaging the next time around.

>99 SF-72: In addition, they're not all ready to ship so later buyers will have to wait for them to be bound.
I won't put any up for sale on the website unless I have copies in hand. So when the first batch is exhausted, it will be listed as sold out (or something else if Shopify allows me to change what the label says) with a note that more will be available in the future.

85> But does that mean they also get first dibs on any additional intervening Short Stops that come between mainline titles?
No, whoever has rights at that point in time will be able to order the next Short Stops title, whenever it becomes available.

>105 Shadekeep: We didn’t get you the first four times; can you explain why you’re frustrated again? Lol

If you want rights, you can buy all the books.

You’re being a negative Nelly.

>107 CTPress-Tony: If it's any consolation, I wouldn't have been so incensed if it weren't such a lovely and desirable book. So kudos on that front.

Just received my "standard" Treasure Island and completely blown away. Absolutely nothing is simply standard about this book.
Can't believe the content and the quality they packed in (which is also shelf-adjustingly massive).
There are not enough superlatives to describe this edition. Absolutely love it. Can't wait to read it to my son.

>110 Daniel.Merchant:

Very few private presses have hit the ground running from the start, but CTP has done that. Only other private press I can think of, regarding my collecting interests, that has started as quickly is James Freemantle's St. James Park Press.

>103 Levin40:

I didn't know that, probably because I'm at a level where I have series rights, not rights throughout everything that comes after.

>110 Daniel.Merchant:. >111 dlphcoracl:
Agree entirely, CTP are superb!

>111 dlphcoracl:

CTP are definitely very impressive. Flowers for Algernon is gorgeous, and I'm really looking forward to my other pre-order so far, The House on the Borderland.

I caved in and ordered "The Paper Menagerie".

It is amusingly tiny in comparison to "Treasure Island":

>115 drizzled: my flowers for algernon is thick only because of the paper they used. It’s a fairly short story/novella

>115 drizzled: I love that they are all so different but attractive in their own ways.

I got caught up in something at work and missed it. Oops.

>118 gmacaree: Sounds like there will be a second batch available as they are bound.

>118 gmacaree: There will be a second batch directly on CTP's website but right now there are some copies on Subterranean Press page, I got a notification a few moments ago

>120 drizzled: Crap. I should of bought it from Subpress, and saved on the shipping. Also, probably would of gotten an exclusive email for the next short story. Damn.

The Paper Menagerie arrived for me this afternoon. I love everything about this little guy. One of the more interesting marbled papers I've seen in a while. The eye effect is striking, and there's some coppery metallic in there that doesn't quite come out in still photos but is a delight in person.

The style of book reminds me in some ways of Thornwillow's "dispatch" line, but without the complicated subscription setup and long waits.

Worth noting that it is quite petit; though the trim size is not too small, it is slim at 18 pages.

>118 gmacaree: Same, except it was stuff around the house. Maybe on the second round?

Standard state Peter Pan arrived today. Just beautiful! Looking forward to my next CTP book and future releases.

I'll join the voices praising Conversation Tree. I too have received my standard "Treasure Island" and am very impressed as I am with my standard "Flowers for Algernon." And though I haven't seen it in person, the numbered "Flowers" looks to be one of the nicest bindings I've seen. I look forward to future offerings.

At last, the Deluxe edition of Faun is sold out.

It’s a stunning book in hands, quite understated I’d say.

I had my eye on Faun Deluxe for months and finally bought it two weeks ago. I read it yesterday and thoroughly enjoyed it.

Tipped in illustrations. I am still getting used to them. I take great care of books when reading but still worry I'll rip or dog ear a tipped in sheet as it pops up.

Sub Press seems to still have Deluxe Faun available, in case anyone is interested.

Deluxe Treasure Island has just arrived. First impressions are very good, excellent attention to detail, and it feels of excellent quality.

Only two things that I've put in the potential negative columns so far:
1) I was surprised how smooth the paper was (first impressions are that I'd have preferred something rougher, but my view may evolve as I spend time with the edition).
2) The distress/damage to the boards was a little too obviously artificial/intentional (I'd personally have preferred a little bit less enthusiasm on the whacking the boards with things).

But neither of those points stop this being a hugely welcome addition to my collection, and I am more excited for future CTP editions than ever!

>130 EdmundRodriguez: I received my copy yesterday and thought it was truly outstanding, apart from the paper! I felt the same about the smoothness of the paper – I think it’s a personal taste thing (I didn’t like the Zerkall ENR white smooth, which Barbarian Press recently used, either), but perhaps also, for this particular tale, a rougher / more textured paper would have been a better fit.

The boards on my copy are plausibly distressed :) I quite like it.

>131 Ragnaroekk: True, but the original announcement as well as the book page on CTP’s website say only “luxurious Naturalis paper”. No issue at all, but had the “smooth” part been mentioned, I would have adjusted my expectations :)

I checked the page for the upcoming Foundation and was very happy to see the numbered is going to use Magnani Pescia, which I love.

Would be curious to hear from Tony what made him choose this particular paper for the numbered, if he would be willing to share his thought process with us.

>128 Pendrainllwyn: >132 BorisG: >131 Ragnaroekk: >130 EdmundRodriguez: Thank you for the kind words.

Smoother paper was chosen for Treasure Island because of the sheer size and number of the pen and ink drawings. The smoother paper allows for better reproduction of the fine details. It's one of the reasons Zerkall was so popular with wood engravers, and why Liber Charta (used on the Lettered) is being positioned and accepted as a replacement.

A lot of thought and testing goes into the decision of which paper to use for every book. The House on the Borderland & Others, for example, uses GF Smith Max Absolute White for the Standard and Deluxe and Madrid Litho for the Lettered, because they best reproduce Dave's 29 full colour pieces that are being printed litho.

We've now done books at three different sizes using a range of papers, as I enjoy the challenges and opportunities that come with the different sizes and the way they reproduce artwork and accept the impression of the text.

Our choice of paper is not unlimited, however, with mills cutting back production and some shutting down entirely. We're also limited by the parent sheet size - many papers come in a smaller size that would only allow us a 6in x 9in trim size, whereas I prefer the slightly larger 6.7in x 9.5in as we've done for most of our books Peter Pan, Faun, Flowers for Algernon, etc.

>133 CTPress-Tony:

That's very interesting. Thank you for sharing this information here.

>133 CTPress-Tony: Thank you for the information. I am looking forward to receiving my Deluxe edition.

"A lot of thought and testing goes into the decision of which paper to use for every book. The House on the Borderland & Others, for example, uses GF Smith Max Absolute White for the Standard and Deluxe and Madrid Litho for the Lettered, because they best reproduce Dave's 29 full colour pieces that are being printed litho."

Are you categorically against using one paper for the illustrations and another for the text? Did the choice of paper for the illustrations drive or preempt the choice of paper for the text?

>133 CTPress-Tony:

Tony:

Is the John Purcell Liber Charta paper used in the Lettered edition as smooth as the Naturalis 135 gsm paper used in the Deluxe numbered edition, i.e., do these two papers have identical surface characteristics to the touch?

>135 ultrarightist: Great question. We have used different papers for artwork and text on Peter Pan, Faun, and Flowers for Algernon, and Foundation. It’s accomplished by printing the artwork separately from the book and tipping it into the text block before casing it in.

With 29 full colour illustrations for The House on the Borderland, tipping in artwork simply wasn’t an option. All told, that would have been over 13,000 pieces of artwork individually tipped in by hand.

“ Did the choice of paper for the illustrations drive or preempt the choice of paper for the text?”

We started off with papers that were available at the size we needed and would print the text well, and started proofing the illustrations. Proofs were sent to Dave and we used the one he felt best reproduced his work.

>133 CTPress-Tony: I will check tomorrow and let you know.

>137 CTPress-Tony: Thank you for the thorough answer. It makes sense.

>137 CTPress-Tony: >133 CTPress-Tony: Thanks for the replies, Tony! I’m going to start reading the book this week, looking forward to spending more time with it!

>140 Ragnaroekk: I would appreciate a two volume treatment as well. It's the main reason why I wasn't interested neither in those massive Amaranthine nor Suntup's blocks.

I just read my standard copy of Faun for a Halloween read. Enjoyed the story. Love the book itself. Great illustrations, great binding, nice paper, great size for reading.

Two very enthusiastic thumbs up. Fine holiday fun.

>138 ultrarightist: >139 BorisG: You're welcome.

>140 Ragnaroekk: >141 drizzled: Appreciate the feedback on that.

>142 jsg1976: Happy to hear!

>136 dlphcoracl: Liber Charta is just a little rougher than the Naturalis. So in terms of roughest to smoothest, we have:

Munken (roughest)
Liber Charta
Naturalis (smoothest)

I finally received my deluxe Treasure Island today. Interestingly, the limitation page informs that the Deluxe state is numbered 1-175, so the rest of the limitation (i.e., 35 copies) must be unnumbered publisher's copies.

>144 supercell: Unfortunately, the same error on my part that lead to the discrepancy between the stated limitation on the Deluxe Flowers for Algernon lead to the same thing happening here - the limitation being updated in one part of the colophon and not the other. In the case of Flowers for Algernon, the limitation was reduced, and for Treasure Island, increased. So there are indeed 210 numbered copies in the world.

And again, this was caught after copies began shipping. I've put in place changes to ensure it doesn't happen again, but apologies for this lapse to everyone who's ordered a copy.

Seeking enablement!

I have a gap at the end of one shelf that’s just asking to be filled (any excuse). I’m thinking the Faun standard edition might be just about right.

Could an owner please post the width of the edition including slipcase?

Many thanks!

146: 25 mm

>146 cyber_naut: You should totally go for it.

I don’t think you have a super precise bookshelf placement, but my measurements are about 25.5 mm +/- .5. Depending on where you measure.

>147 supercell: >148 ensuen: thanks to you both, I reckon that might just about work :)

First sneak peek at Solaris deluxe edition :
https://www.instagram.com/p/DCE8Bv-tgMT

Looks superb (as far as it’s possible to judge from that one photo!) – reminds me of Lyra’s Press Stardust, but cold rather than warm – which fits the story

Reminds me of the LEC Martian Chronicles. Excited for this release!

The deluxe edition will be out of my reach but I'm very curious about the standard edition.

I was fortunate enough to be able to borrow copies of all three states of Treasure Island to post them on my YouTube channel, the results of which labours are here: https://youtu.be/g1_Xn2wPrYo?si=n7nIi_RpV58nOLsA

It was pretty cool to have all three states side by side.

>154 ubiquitousuk: Thank you for another wonderful review

>154 ubiquitousuk: I always enjoy your reviews, thank you. They must be a lot of work.

Info about Solaris is live on the website: https://conversationtreepress.com/pages/solaris-stanislaw-lem-murphy

Both standard and deluxe seem superbly designed to my eyes – and the text block and paper are identical between the two, so the standard is great value. I do, however, very much like the idea of the title etched onto the spine of the acrylic case in the deluxe, leaving the spine of the book empty.

>157 BorisG: I agree, I think the standard and deluxe are great

The deluxe is hitting all the right notes.

I'm really excited for this one! The standard is an incredible value.

The standard edition looks like it'll complement the standard Foundation quite well as a retro-themed sci fi cover collection. For some people who might have been disappointed on missing out on the deluxe Foundation and had to settle for the standard I think this sort of matching style actually makes owning both standards a more attractive prospect in that regard.

I adore the Lettered cover, but the Collector's is also solid and an easy buy decision.

I’ll probably settle for the Collector’s edition, but the Deluxe is one of the most beautiful I’ve seen these past few years. Wow

Great job CTP

>157 BorisG: Just like with Flowers for Algernon, that Deluxe binding looks like it would have been a lettered from most other presses.

Absolutely marvelous design for the deluxe. The hand-marbled overlay with the Harmatan looks great. I always have a weakness for unique and creative uses of marbling.

My one minor concern is the enclosure. One of the roles an enclosure plays is to protect a book from light. I don't see pictures of the acrylic slipcase described, but I assume it will be transparent since the page describes it as like a specimen case. Does anyone know if the kind of acrylic used for this will protect from UV etc.?

(Not a huge problem if not; just means I need to keep it in one of my cabinet shelves. But I am curious nonetheless.)

>165 abysswalker: if I'm remembering correctly acrylic is quite UV resistant

How hard is it to get a new release of a deluxe from CTP usually, are the remaining copies gone in seconds or minutes ?

>167 anthonyfawkes: CTP is fairly new so it is difficult to predict.
For Foundation, the deluxe was available for few days if I remember correctly.
But this edition is maybe a bit more unique and so will maybe attract more people.

I love the textless cover on the deluxe. It took me a second to place it, but CTP really doesn’t seem to hold back on design work for the lower tier editions. Excellent stuff.

>170 Ragnaroekk: I’d say the “trend” (or really just a handful or recent examples) is to dress up the standard text block for the deluxe edition.

Here, they’re doing to the opposite, and upgraded the paper in the standard to the same quality as the deluxe for the sake of better art reproduction.

>168 David_Mauduit: I don't believe so, I'm afraid. There were about 10 copies of the deluxe in the last round of public pre-sale and those went within a few minutes. The standard state was available for a good couple of months, however, which surprised me quite a bit.

>171 NathanOv: and I wish some others (Folio Society, I'm looking at you) would emulate CTP.

172: Foundation was a bit of a special case because there was a waitlist for it: First the deluxe rights-holders got 48 hours to purchase copies 1-150, then those who had signed up on the waitlist (seven months earlier) had 24 hours to purchase unsold rights copies and non-rights copies 151-250. The few remaining copies were made available for hoi polloi only after that. This time, no waitlist. Then again, the number of non-rights copies is also smaller (just 50). Historically, CTP's numbered editions have been slow sellers - but Solaris is a well-known genre title and CTP has been getting increasingly popular this year. So, it really is anyone's guess how this plays out.

>161 wongie: I had the same thought and hope that CTP will continue this style for future standard states of sci-fi classics.

Will try to pick up a Solaris, do like how this one turned out in the photos.

Did I miss the second round offering of The Paper Menagerie?

>176 Shadekeep: Looks like the public sale announcement for Paper Menagerie went out on October 18th. I think the sale info was kinda buried in the original announcement though - as someone who'd bought the most recent numbered title, I was still panicking a little trying to figure out how to order!

>177 NathanOv: Ah, it sounded like there was going to be an actual separate second round, but I guess it was just a restock on the same day. So I did miss it then.

>178 Shadekeep: no I think you are right. There should be a second batch of books coming at some point.

>178 Shadekeep: The second batch hasn't been announced yet

Tony has posted an udate on "Solaris" and the acrylic slipcase, pasting in below:

While I’m confident that the slipcase for the Deluxe state of Solaris would perform quite well as designed, as do the acrylic slipcases I have from other presses, I've decided to implement a few refinements more in keeping with our usual design approach while keeping the original concept intact.
- Thick greyboard construction, likely covered in Corvon Carbon-X, the same material used on the Collector’s slipcase.
- A Suedel-lined interior.
- The acrylic spine of the original design, which filters 90% of UV light, will be retained, along with the title etched on it.
We will have a prototype ready within the coming weeks. Please note, pre-orders for the Deluxe Solaris will include the updated slipcase by default, with no option to exchange it for those of the Standard or Lettered states.

Well, I am on the fence between the deluxe and standard right now, as I initially planned to go with the latter to complement my standard "Foundation"... But the design and used materials for the deluxe are truly top-notch :)

>181 drizzled: Well, the suedel lined interior is probably an improvement as far as wear-n-tear goes, I'm just not sure how I feel about a transparent spine but not transparent sides.

It'll certainly be unique, just clearly designed to only be seen amongst other books on a shelf from the sounds of it, and not as a complete standalone object with the slipcase included as part of the design.

>157 BorisG: Going to be an expensive winter for me, because this looks fantastic. I was wondering if the retro poster art style could convey the more evocative imagery in the book but looking at the gallery I think they nailed it.

It's the first time I've really looked at the piggy bank and considered splurging for a numbered edition because the concept of the design really works for me. I get the protective value of changing the slipcase design but it's hard visualizing it looking as clean as the original proposal.

The collector's edition cover following the interior aesthetic and having the paper upgrade makes it hard to beat though. Most of all, having the better translation and a special edition of this book warms my heart. (I've been filling it into those FS surveys for some time & this is no doubt better than anything they'd do).

Just pre-ordered the Deluxe Solaris. I think everything about looks great. I would have preferred the original acrylic slipcase, but trust that Tony comes up with new design that will be just as spectacular 😊

Am I correct in recalling that if you have deluxe Foundation with rights, even if you do not exercise the rights for deluxe Solaris, you retain the rights for the next two Foundation books?

(I looked on the website and in my email but can't put my hands on anything that confirms that.)

187: Yes. The rights for the Foundation trilogy have already diverged from the main (i.e., publisher's) rights - and the same happened to the Weird. sequence a bit earlier.

>187 amysisson: and >188 supercell: I greatly appreciate that CTP does that

With just an hour and a half of the private pre-order window left, 26 deluxe copies of Solaris (with rights) remain unclaimed.

>190 supercell: No, apparently these are all the remaining copies. Just 26. It's higher than the number of rights copies because some have been kept back for Subterranean Press to sell. I don't know the exact numbers, but it does imply a very high take-up of rights copies.

>191 Levin40: can you see how many collector’s editions are left? Really hoping to get one at 12pm!

>192 RRCBS: There's no counter on the Collectors. Currently only those who also who purchase Deluxe or Lettered copies can get one (so max 176 people), and I can't imagine that that many of those are buying multiple editions. Don't worry, you'll be fine for the Collectors if you show up on time. In the past they've taken hours to days to sell. Those wanting the Deluxe, on the other hand, had better be quick.

>191 Levin40: not surprising given the quality of the books he's produced so far. The only CTP I've passed on is the Ken Liu short story. He's a wonderful writer but the worldview in the stories of his I've read is incredibly dark and depressing.

191: A high take-up after Foundation does not surprise me considering this is a case of two back-to-back sci-fi classic offerings (I would already have considered 124/150 as pretty high, though). However, if Sub Press really has taken a chunk of the remaining copies, the situation does sound pretty dire for anyone without rights - those 26 copies will be gone within a minute.

Yup, that took less than a minute.

Showed up at the dot and bought a Collector's edition. One minute past and the deluxe shows as sold out.
Edit just to say I'm glad I wasn't the only one who thought the concept for the deluxe was fantastic. Well deserved instant sell-out.

Sold out in a minute! Congratulations to CTP.

I ordered the Collector's edition to match my Foundation.

Deluxe already sold out. At 6pm I only saw the standard pop up. After checkout at 6:01pm the deluxe was there already with the sold out mention.

>198 sdawson: Impressive! I hope they have the same level of success with the collectors edition - and I suspect they will, with the similar audience to Foundation and the smaller limitation.

Happy to grab the collector's edition! It looks like it will be a wonderful book.

Snagged a deluxe edition fully expecting to not be fast enough and miss out. A bit shell shocked lol.

Very excited to have grabbed a deluxe. Incredibly attractive editions all the way around for this release.

Congrats to this that managed a deluxe. I got caught up with work for a couple hours and couldn’t make an attempt. Got one of the collector copies though!

Same, busy with work, missed out on Deluxe. Well, if anyone wants to trade one down the road let me know...

>205 LT79: Yes, collectors' editions are superb, every iteration has a meaningful design relationship with the particular title. And for the price they are packed with artwork and not skimped on materials.

I've managed to snag the deluxe "Solaris". Can't wait for its arrival!

Flowers for Algernon and after, everything deluxe state from CTP has been marvelous. For Faun, I loved the binding design, but the illustrations didn't work for me (too digital/photo realistic), and I went standard edition for Peter Pan (that was a toss up; the leather was nice, but plain solid green plus stamped design ultimately seemed less distinctive than the floral printed paper with metallic accents).

Now, I feel like I'm basically buying each new release by default (the only press for which this is true). Well, maybe Tudor Black Press also.

It's actually good at some level that Faun didn't work for me, because I avoid completionism on principle.

Was too late for the Deluxe Solaris. Damn. To me that one is the best looking of the three. It really is a beautiful design, and the Collector’s Edition just doesn't do it for me. Gotta pass, but glad for you that snagged a deluxe. So jealous. LOL

31

Subterranean Press has the Collector's Edition available with what would be a lower shipping cost for most everyone (I believe).

Is it typical for a significant number of non-rights copies to be set aside for other storefronts? I thought it seemed a bit disingenuous to only put up half the advertised number of deluxe copies for sale on their site yesterday, but I usually don't aim for the higher end editions, so that may just be a standard practice I wasn't aware of.

>213 A.Nobody: It seems to have been taken down.

>216 ambyrglow: That means all Subterranean copies have already sold out.

Missed out on the Deluxe from Subpress too. Now it's pretty obvious that God hates me.

Longtime lurker within these Fine Press rooms, but feel compelled to share news with the group that I won the lottery for a Lettered Solaris. I was _delighted_ to receive the news within an email from Tony this morning. Now, I am certainly in no, erm, 'state' to afford quite such a luxury, but this is one sci-fi novel I relish the opportunity to acquire the full kit n' kaboodle. (Hardly a power sci-fi reader compared to some of you, but I do have my favorites.) Marveling at the top-shelf design and production values on this one. And the story, the scarcity of it in English, and the great film by Tarkovsky, which I lurvv. Yes, this is it!

>219 PostToastee: Congrats. That enclosure looks special. Enjoy.

>219 PostToastee: Congrats! the Tarkovsky film is interesting. However, Lem absolutely hated the film! He did not approve of changes from the novel, had heated debates with Tarkovsky, and for the rest of his life openly discussed his loathing for the movie :)

>219 PostToastee: Congrats! It's a beautiful design :)

I received my Deluxe Treasure Island today, and I’ll add my name to the list of people singing its praises, though I do have some quibbles. Some more specific thoughts:

1) I love the overall design of the book and the typesetting and integration of the illustrations. Really top notch work by Tony there. And the sheer number of illustrations is fantastic.

2) The wooden boards look great, and I don’t think mine are overly distressed. However, mine does have a 1.5” cut on the front board that looks new and like it was done with an x-acto knife, and so isn’t in keeping with the overall look, which is a bit of a bummer.

3) I love the endpapers. Great fit for the story.

4) I really wish RLS’ original map was included instead of Marc’s, which looks cartoony to me, lacks some of the detail referenced in the story, has a typo in the legend, and is mislabeled to boot (as ubiquitousuk pointed out in his excellent video review).

5) I really like the illustrations, except when they have people in them, which again, look cartoony to me - like Jemima Catlin’s illustrations for The Hobbit.

6) I do wish the paper had a rougher texture and a decked edge, though I understand Tony’s reasons for going with this paper he shared in >132 BorisG:.

7) I love illustrated drop caps, and these are great.

8) I love the binding design, though I do worry a little about long term durability with boards that heavy and leather that supple.

9) I wish it had endnotes for some of the nautical terms. Both the Folio edition I have now and the non-FS edition I read when I was a kid had endnotes, and I found them pretty helpful way back then. I had emailed with Tony about that before I ordered the book, and he explained why this version (like many others) doesn’t, and I understand his reasoning. But just as a matter of personal preference, I would have liked to see those - especially if any kids might read this version and don’t have a copy of A Sea of Words handy.

But don’t let anything above detract from my overall first impressions of the book, which are exceptionally favorable. Kudos, CTPress-Tony! I’m excited to see what comes next from the press. I wish I was more interested in reading Solaris, because I think it looks great. High hopes for Tigana.

>221 astropi: Couldn’t just let him/her bask in their happiness for a while?

>219 PostToastee:

Congratulations! It's wonderful that such a rare edition clearly went to someone who loves the book and will cherish this version of it.

>226 SF-72: Congratulations! It's wonderful that such a rare edition clearly went to someone who loves the book and will cherish this version of it.

Oh yes, agree with that wholeheartedly.

I'm 2/3rds of the way through my deluxe. I second everything that's been said about the quality of the craftsmanship, materials, and design.

I'd add that I love all of the interesting layout and illustration decisions throughout, such as the vertical spread to accommodate Marc's three-column illustrations, or the smaller illustrations at the top of each column in the "Attack" chapter to really make you feel the action and faster pace of that section.

You can tell that Tony works very closely with his illustrators and gives attention to every single spread in his books to ensure the best result.

It's a shame the errors with the map weren't caught - I did try to flip back to the map when reading it's description in the text and noticed the mismatch immediately, but then I've certainly seen more egregious examples of map illustrations in other books.

19 copies of Solaris remaining, by the way. If anyone hasn't ordered yet, today is probably the day to do it.

>223 LT79: There was also a 2002 film by Steven Soderbergh. Both the Tarkovsky and Soderbergh versions are interesting in their own right. The 2002 version is closer to the original source material, although still doesn't quite capture the novel in my opinion. That said, I do enjoy watching adaptations after I've read the books :)

And sold out.

If anyone is after a copy of the lettered edition of Solaris, there does seem to be one available from the website - maybe just a glitch but worth a shot to check if you’re interested.

6 copies of the Collector’s Edition in stock if anyone is interested...

Edited: sold out again

Apologies for the self-promotion but it's for a good cause. I've started Bound for Good (see, this is why I leave the writing to the professionals) - an initiative to raise funds for local charities making a positive difference in the community where Conversation Tree Press & Family live.

The gist of it is I'll commission a unique binding of a CTP book, run a raffle, and ship the copy for free to whoever wins it, wherever in the world they are. The first book up is Joe Hill's Faun, using a Deluxe book block (145gsm Liber Charta) and bound in full Harmatan & Oakridge goatskin leather from their Fine Leather Range. François Vaillancourt also generously donated a remarque.

Each CA$5 donation to Suddaby Public School, where my son attends senior kindergarten, is worth 1 entry. The money raised helps to fund school nutrition programs, school supplies, field trips, equipment, etc.

I kicked things off with a $100 personal donation myself, and we're well past the goal, but there's still lots of time to win this unique copy.

All the details are here: https://conversationtreepress.com/pages/bound-for-good.

Best,
Tony

That’s a great initiative Tony

Dinged Book Clearance (and also As New) time is almost upon us:

Dinged Book Clearance

It’s the end of the year and six months since we last did a dinged book sale, so it’s time to make some room in the workshop. Here’s what you can expect on Thursday December 19th at 10am ET:

Dinged copies at 10% off
Note these are copies with very minor imperfections and contain all the artwork and text of the edition. They are being sold as-is at 10% off their issue price and are not eligible for return. In the case of Deluxe and Lettered copies, they are marked as PC instead of a number or letter.
• Treasure Island Deluxe - 4 copies
• Treasure Island Lettered - 1 copy
• Flowers for Algernon Standard - 3 copies
• Flowers for Algernon Deluxe - 3 copies
• Flowers for Algernon Lettered - 1 copy
• Faun Lettered - 1 copy
As New Copies
These are perfect copies that were either held back to ensure collectors received their copies safely, or the order was canceled and we’re now making them available. They are being made available at their issue price. In the case of Deluxe and Lettered copies, they have the number or lettered marked as normal.
• Peter Pan Deluxe - 2 copies
• Treasure Island Standard - 2 copies full price
• Treasure Island Lettered - 1 copy
All copies will appear at the top of the main shop page of the website on Thursday December 19th at 10am ET.

Best wishes,
Tony

Well I'm an idiot and missed the dinged sale a few minutes ago. If anyone wants to offload a standard or deluxe Flowers for Algernon, let me know. The rest of you enjoy the beautiful books!

I was there for the sale and left empty-handed unfortunately. I was refreshing constantly for the last couple of minutes before it started and the moment it appeared I clicked 'add to cart' on the title I wanted and before I could even click anything on the next page a message popped up saying it was sold out. Either there were bots present or some people were getting in before others because there's no way another human being getting in at the same time as me could've done it that fast.

That's my sad, bitter story and I'm sticking to it! Back to the secondary market search I go...

Same experience for me. It was more like a lottery. But glad they made them available though, and looks like they did the best they could do.

Lots of exciting news in the latest Gyaff:

https://conversationtreepress.com/blogs/news/january-gyaff-2025

Namely, that they plan to ship 5 books over the next five months, which I believe will double the number of publications they have out in the wild.

Also, sounds like they were actually able to acquire rights to some requests from the survey, so there ought to be a few extra happy collectors out there.

No words about Kindred. That is the one that I am looking for the most.

>242 David_Mauduit: Looks like it won’t be until at least 2026. Though I know I wasn’t the only one I list more titles by Octavia Butler on the survey, so I’m holding out hope they choose to do a series of works by her.

>241 NathanOv: Gorgeous preview of some Nomad presswork for them here: https://www.instagram.com/p/DFNsTTItu6g/

>244 Shadekeep: Ah, a bit of a reveal too I think! Looks like the March "short stop" must by Gibbet Hill by Bram Stoker! A "new old" story as it was just rediscovered last year.

>245 NathanOv: Nice, that's one I'd support. Still hoping they announce the second round of The Paper Menagerie as well.

I can't wait to get my hands on House on the Borderlands (curse the delays!), but I was quite happy to see mention of "sword and sorcery" and "public domain fantasy" (some Dunsany perhaps?).

>247 JanPospisilCZ: If I remember right, Marcello at Arete had been wanting to do a Conan novel. Not my favorite series, but I think it'd make for a fun collaboration with Conversation Tree.

>249 LT79: I read the "standard translation" which is the only one that was around when I first read Solaris many years ago. It was never well received because it was actually a translation of the French, and the French was a translation of the original Polish, so it was twice removed :)
Even so, it was a wonderful read, so this will be something special.

>251 LT79: I managed to order a standard, although I was aiming for a deluxe... so if anyone has a deluxe they no longer want shoot me an email :)

>249 LT79: Where are these pictures posted?

>253 Nightcrawl: I imagine they're referring to the last photo in the gyaff: https://conversationtreepress.com/blogs/news/january-gyaff-2025

>254 NathanOv: Ah yes! My mind has been scattered lately. Thank you!

I was able to secure a Deluxe Solaris.

I chose this version over the Collector’s, because the binding-design is no doubt one of the most beautiful I’ve ever seen on a Deluxe/Numbered. Such a beauty, imo of course.

>259 LT79: I personally enjoyed both The Invicible and The Investigation a lot and would support a fine press edition of either. Also The Cyberiad, or a subset of stories from that collection ("The Seven Sallies of Trurl and Klapaucius").

>259 LT79: My favorite (personally I rank it higher than “Solaris”) is “His Master's Voice“.

There are so many classic sci-fi works that deserve the royal treatment! At the top of my list this includes Karel Čapek's R.U.R. -- Rossumovi Univerzální Roboti (Rossum's Universal Robots)

Edit: well this interesting --
https://en.wikipedia.org/wiki/R.U.R._(film)
R.U.R. (Rossum's Universal Robots) is an upcoming science fiction musical film written and directed by Alex Proyas and based on the 1920 Czech play of the same name by Karel Čapek.

And my vote for royal treatment: _We_ by Yevgeny Zamyatin. Dystopian and with some lyrical language.
,

>264 abgreens: Not the royal treatment but both the Folio Society and Easton Press published nice editions of We.

>264 abgreens: I second this!

The page is up for the next Short Stops release, There Will Come Soft Rains.

https://conversationtreepress.com/pages/there-will-come-soft-rains-ray-bradbury

Looks good, though not optimistic that there will be many available outside the rights chain. There was talk that the first in this series, The Paper Menagerie, would be offered again in another run. But the page says "As with all of our books, this edition will not be reprinted.", so that's probably not happening now either.

>268 Shadekeep: There are 197 copies left as of now. So 103 copies sold in about an hour.

>269 Nerevarine: Thanks for the numbers. Are you seeing that through some kind of page only available to current backers who can buy it now? I fully expect a title like this to have very few folks passing it by. Even if you didn't want it for yourself, you'd probably know how well it would resell.

I've already given up on trying to collect the Short Stops since I failed to secure the first title. Honestly, thanks to the rights chain, I find every new announcement from Conversation Tree Press depressing. I'm sure those who have a chance at the titles feel differently, of course.

Has it reached a point where there are only enough copies for rights holders? That would be a real shame - I rather enjoyed that so far everyone had a realistic chance if they could buy around the time of the public sale.

>268 Shadekeep: I believe roughly 100 copies of The Paper Menagerie were not bound in time for the initial release and were to go on sale later, so I imagine that's what you're remembering.

I am not sure what happened to those, but unless the press miscalculated I would also assume they're treating around that number of each title as "rights free," which makes sense since there are only 176 total rights holders from Solaris - so, you should still stand a decent chance at public preorder!

>271 SF-72: There's 300 in the limitation, with first option going to "collectors who pre-ordered Deluxe copies of Solaris numbered #1-150 and all Lettered copies". So that's 176 folks, leaving just shy of 125 available to the public (assuming every backer buys one). Which isn't a terrible limitation, some presses don't even offer that many copies full-stop. I just have unresolved bitterness about the first title. 😄

EDIT: Oops, simul-posted with @NathanOv. Yes, a fair number will be on offer.

Well, I'm passing. Firstly, over $50 shipping to Europe for something which weighs barely more than a letter is not something I can stomach (I would have expected $20 max), secondly I already own the LEC Martian Chronicles and the story is included there. It is well-produced though, as always from CTP. I'm very likely in for the 'Tom Kidd book' later this month.

>270 Shadekeep: I indeed currently have rights from Solaris, so I have access to the order page.

I’ll let you know how many are left at the end of the private order period on Thrusday. But it’ll be at least 125 copies, but probably more.

>274 Levin40: Ouch, that's some harsh shipping costs. Though I'll probably be facing America's new "shoot ourselves in the foot" tariffs soon, also pricing most Canadian purchases into the realms of the absurd. Though at least CTP found a back way around that, it seems.

>275 Nerevarine: Thanks much, most kind!

My goodness - ordered at 8:07am local time and got my shipping notice at 9:05am! I think that's gotta be a record, at least for a new release.

>276 Shadekeep: I wish he'd left some of these in the UK, for shipping from there, as he does for the main titles. As it is, they're shipped to Canada in bulk then back to Europe individually at huge expense. I'm sure it makes sense for the press, but unfortunately not so much for customers outside of North America.

>277 NathanOv: 'limited editions that begin shipping immediately upon announcement.' When he said 'immediately' he meant it!

>277 NathanOv: I've noticed an alacrity of late among booksellers. Even many of my orders from Abe/Biblio seem to post very quickly these days. Very laudable, especially to me, who can takes days to get a letter down to the post box.

Already a bit more than 125 copies sold (out of approximately 176 for rights holders). It’s moving fast.

Also got my shipping confirmation less than an hour after ordering. That’s really great work from Tony.

>274 Levin40: "Well, I'm passing."

I'm passing too. Also passing on the Nepenthe Press' Weird Shorts Library Lovecraft title. (I gave the The House of Usher and the CTP The Paper Menagerie a chance, but I guess I'm just not into these individually made short short stories).

However, I'm also looking forward to the 'Tom Kidd book' later this month... 😊

>281 Dr.Fiddy: I know sometimes individually short stories can be a bit pricey, especially since most of us have a limited book budget. But I have to say that CTP's The Paper Menagerie is worth every single cent in my opinion! Beautiful letterpress, signed by the author, lovely frontispiece, truly majestic story... and the price was very reasonable to begin with -- for me that's a keeper.

>273 Shadekeep:

That does sound good and was the impression I originally had of them trying to keep their books available beyond rights holders.

>274 Levin40:

The shipping is really steep for what you get. As you say, it would really be preferable to leave copies in Europe for more affordable shipping fees. Fortunately, this doesn't affect me this time around since I already have the Subterranean Press 'Martian Chronicles'. While this edition looks beautiful, I'd rather save my money for something I don't have yet in a different nice edition.

Had a quick email with Tony and they do still plan to offer up the remainder of The Paper Menagerie at some point. Seems there's a bit of a tale behind it, which sounds like it might make for an interesting anecdote in a future newsletter once the process is done.

>281 Dr.Fiddy: Oddly enough I come from the other direction, having gotten into fine press via broadsides and chapbooks. Because of that, I still adore single-work books like these. I think some of the appeal is that because of the tight focus on a single story or poem, the design can be both highly specific and more experimental (since a smaller work involves less of a material risk to the printer than a larger one). And I also love how such works let me assemble a curated shelf of select stories!

>274 Levin40: There is probably a large fixed cost to shipping something over in a small box, before the size and weight kick in. I’ve only ever shipped a few boxes from the US to the UK, but never paid less than $50.

160 copies gone, so just 16 rights-holders copies remain unclaimed at this stage (assuming, of course, that all copies are sold through CTP's own web store, which has not always been the case).

Edit (3 mins later): make that 161 gone, 15 left

>285 What_What: Hard to believe, except for super fast 1 day courier, which I certainly don't need for books. I just checked The Paper Menagerie: it weights 166g. In the UK, sending such a parcel (anything up to 250g) tracked domestically by Royal Mail would cost £4.25 and the maximum price internationally is about £15. I haven't checked Canada Post but I doubt it's that different. I also checked some past Suntup orders - they're charging less than $50 for books weighing 1.5-2kg. As another comparison, I paid €150 for Amaranthine's 2001, and that included 1-day express shipping to anywhere in the world.

I'm sure more shipping options could be offered here. Or alternatively allow customers to group the Short Stop titles together and send in batches, though I'm not sure how often he intends to release them. Anyway, due to the shipping I've decided not to collect this set now. But, as I said, looking forward to the next mainline titles.

International shipping costs are high. I thank those presses who offer to hold back books and ship together with later books to help lower the cost. I wouldn't want them reducing the quality of the packaging which is usually very good.

I am fortunate to have a family member in the USA to whom I have a number of my private press books sent to. I pay lower shipping and receive a small bundle of lovely books when I am next fortunate enough to see them.

I noticed that my shipping cost for There Will Come Soft Rains was $14.06, a welcome 15% lower than the $16.60 paid for The Paper Menagerie. So some grounds for positive feedback!

129 copies remains, which would indicate that 171 rights holders have bought it so far out of 176.

I really doubt that’s the case, so I don’t think the whole 300 copies were up sale in the first place.

As someone who ships a lot of things back and forth between the US and Europe, US postal costs for international mail have long been far higher than the reverse. It always seems to be a bit of a shock to Europeans. It costs my German friend twenty Euro to ship me a two kilo package; it costs me more than fifty dollars to do the same in return.

I love the concept and execution, but unfortunately I just cant get the $/page to feel reasonable with my budget. I will save the money and put it towards the Tom Kidd book. Very curious to see what that title is. I wonder why it has been teased with so few details when books like Kindred and Tigana were announced so far in advance.

>274 Levin40: In Europe as well: shipping came to $33.44 - still expensive, but definitely not above $50.

With 15 hours of the private pre-order period left, there are 126 copies remaining. So, in theory, it is still possible that 174 out of 176 rights-holders chose to make the purchase - but it would not be a big surprise to anyone if some copies later turned up at the Underground Press.

All in all, CTP's There Will Come Soft Rains looks like a nice production of a perhaps not quite so exciting short story (the Stoker tale should be rather more interesting). I went with the slower shipping option and paid $31.38 to my location here in Europe, quite an improvement over The Paper Menagerie ($45). Even so, after shipping and duties, this will still be a €155.31 title (both the recent VAT increase and the stronger dollar do smart a bit), or €8.17 per page. It really would be nice to be able to combine orders, particularly since there are "a number of other Short Stops titles planned for this year".

Edit (2 hrs later): ... aaand down to 118 copies, i.e., we have run out of rights-holders - and then some...

>274 Levin40:

Thanks for reminding me that this story is in The Martian Chronicles. I too have the 1974 LEC edition. It is a gorgeous production, perhaps not letterpress, but gorgeous text with large generous margins, striking illustrations, magnificent book design, and signed by Mr. Bradbury and the artist.

I turned to the story in the book, and it is just 10 pages in the LEC edition -- the large text and margins. I am all in on CTP books, and if I didn't have this one I'd likely spring for it. But as others have said, I'll keep my powder dry for the next offering.

I do expect that this will sell out very quickly though. Thank you CTP!

>295 sdawson: the LEC Bradbury (like all LEC books, I believe), is most certainly printed letterpress!!

>296 BorisG: Thank you. It did not mention that it was in the colophon, so I was not sure. However, I highly recommend this production for fans of Bradbury or The Martian Chronicles

115 copies left in stock for There Will Come Soft Rains

Snagged a copy =)
Down to 76 already.

Got it! It was at 106 when I put it in the cart, 56 after.

And gone.

>301 supercell: bought mine at 36 - completely forgot to go via the store page so at 3 minutes past I was perspiring somewhat 🤦🏼. Bradbury at his finest - can’t wait 🎉

Lol, I was 19 minutes late and it's sold out. Can't complain, I forgot to set a timer. Congrats to those who got it!

>277 NathanOv: They've beaten their own record - my order was confirmed via email at 10:01 and the shipping email was just sent at 10:42. They must be coiled and ready to spring into action!

Well done on CTP for their fast sell-out. These days I'm seeing everyone talking about CTP and sell-outs in minutes, while it seems that Suntup is sometimes struggling for sales. Is CTP the new Suntup?

>291 PJ-Reads: It's true, they have gone to both extreme ends of announcement strategies! Both announcing titles before artwork even starts with some titles, and tantalizing us until the very last minute with others. Tony, pleeeaaaaase put us out of our misery re 'the Tom Kidd book' soon!

For myself, the "ultimate" Bradbury will always be the two LEC editions -- Martian Chronicles (signed by Bradbury and featuring artwork by Bradbury's "favorite artist", Joseph Mugnaini who also signed) -- and Fahrenheit 451 which is likewise signed by Bradbury and Mugnaini and features one of the most outlandish and unusual book covers ever -- it's done in aluminum! I would love to see CTP produce a beautiful edition of Dandelion Wine which is one of my favorite, perhaps all-time favorite, Bradbury novel and has yet to receive the royal treatment it so deserves. Also, FYI -- when someone does produce a letterpress edition of Dandelion Wine, you absolutely must include this illustration by Thomas Canty --

>307 astropi:
That's a gorgeous illustration.

I would be all in on a Dandelion Wine. It is also one of ny favorite Bradbury books.

Wow, that illustration is stunning! Somehow I haven't managed to read Dandelion Wine, in spite of having read The Martian Chronicles multiple times, The Illustrated Man, and of course Fahrenheit 451

Looks like an announcement coming tomorrow morning at 10 ET per an Instagram post.

>312 blinks112: Huh - I'd imagine for the Tom Kidd book set to go on preorder this month, but if that post is meant to be a tease, I can't think of any connection between that and the artwork we've seen.

313: The Kidd book announcement is not due before next week, so this is probably something else. One of the commenters on Facebook suggested Neuromancer but the tease might also fit 2001: A Space Odyssey.

>312 blinks112: Saw that. My first guess was Neuromancer, given its anniversary and the opening line of the novel re: static. But it could be a number of different titles, of course.

>312 blinks112: Interestingly, SubPress posted the same thing today. I assume a collaboration between the presses! Maybe a nice edition of Snow Crash?

Per Wikipedia: "In his 1999 essay "In the Beginning... Was the Command Line", Stephenson explained the title of the novel as his term for a particular software failure mode on the early Macintosh computer. Stephenson wrote, "When the computer crashed and wrote gibberish into the bitmap, the result was something that looked vaguely like static on a broken television set—a snow crash".

>316 drizzled: Ahh, it's all coming together. So probably not a Conversation Tree Press edition at all - I'd assume another collaboration like with Centipede.

Sub Press has already done an edition of Snow Crash, but not of Neuromancer.

The static picture is also a Magic Eye image, but it's a bugger of one. I'm usually pretty good with these, but I'm only resolving general blocks of shapes with this one. I'd love to see the original image used to generate it, it seems rather complex. I think there are letters in there too, but equally hard to resolve at the moment.

>317 NathanOv: I am unsure about Neuromancer, also taking into account the description of a "contemporary sci-fi" present in
the last gyaff. Albeit, the announcement might cover something completely unmentioned before ;)

Bleedin' heck! I'm just waiting for the Tom Kidd book! It's like Zeno's Paradox waiting for that to happen.

>319 drizzled: If it's not getting the full fine press treatment, yet another limited edition Neuromancer does feel like an odd choice. I can think of half a dozen over the past several years just off the top of my head.

>318 Shadekeep: Good catch - I'd imagine in that case, the static itself is not actually significant / part of the tease. I'd imagine it's not meant to solvable ahead of the announcement, though always worth a try!

>304 Shadekeep: Just received my copy of There Will Come Soft Rains -- incredibly fast fulfillment!
It's a very nice little piece of work, prettily bound. My only wish is that they'd gone for even a slightly nicer paper than Munken 120gsm smooth....

>322 kermaier: Mine arrived today too, very nice!

322-323: Likewise. Alas, with a crushed corner.

>322 kermaier: fully agreed. Great press work but it really would have benefitted from a rougher textured mould made paper - especially in light of of the subject. Also, I’m rather fond of the ‘Sleepy Hollow’ meets ‘Blade Runner’ aesthetic for the frontispiece.

>325 cottonoverwood: I'd say my one recurring criticism for Conversation Tree Press so far is their preference for rather uninspiring smooth stark-white papers.

>326 NathanOv: on some of their output, certainly. The higher-end states, however, do employ some exceptional papers - handmade on the lettered Peter Pan and Faun. I’m fortunate enough to own the deluxe Peter Pan and that’s a gorgeous 100% cotton paper.

SNOW CRASH by Neil Stephenson. Fantastic selection! Discussion of this novel was in the syllabus of the first-ever course on “The World Wide Web” at Indiana University in 1994/95, an Honors seminar for which I eagerly signed up. Neuromancer by Gibson, of course, and Coupland’s Generation X were two of the other titles I recall.

Yeah I'll be getting Snow Crash

No standard edition so it will probably be too expensive for me.

"Decisions regarding rights will be made closer to publication."

I guess it shouldn’t be an issue for the 150 CTP Deluxe right-holders, but with 13 Lettered copies made available on both the Subterranean Press and Conversation Tree websites, it'll be interesting to see how they will handle the Lettered rights...

Edit: Just saw that "All copies will be shipped from Subterranean Press in Michigan, U.S., whether a collector ordered a copy from the Subterranean Press website or the Conversation Tree Press website.

I really hope they go back to the "Pre-ordered copies destined for the United Kingdom and the rest of Europe will be sent directly from Ludlow." so the books don’t have to travel across the pond twice...

Long-time listener, first-time caller. Snow Crash: it'll be quick to sell out. People love that book. And Tony's arguably the best designer in fine press.

Monday's what I'm waiting for. Will the Tom Kidd really be Verne? If so, how will the translation be? Verne's had some rough ones...

>330 David_Mauduit: My thoughts too - wonder what the rationale for that decision is.

>334 cyber_naut: I'd guess Sub Press had the rights with states + limitations locked in, and that's how Conversation ended up collaborating with them.

Since I believe all of the Neal Stephenson Sub Press books have rights attached, kinda curious how their buyers will take being either priced out or not having their rights carry over.

Sounds like if I keep my CTP numbered rights, i should be in the clear though.

This is one book I might break the piggy bank to get a numbered edition of. It'll be a long wait until 2026.

>331 Dr.Fiddy:
"I really hope they go back to the "Pre-ordered copies destined for the United Kingdom and the rest of Europe will be sent directly from Ludlow." so the books don’t have to travel across the pond twice..."

Absolutely!

>338 frik51:

Oh yes!

Received my copy of the Bradbury short-stop today. Very elegant little edition, nice frontispiece, and I love the story selection.

I can't help thinking, though, that most other presses putting out works of this length are doing just a little bit more with them. It seems there's a missed opportunity to really lean into the hand-made feel with shorter works like this, or to at least really elevate some aspects of them. For example, it might've been nice to have the poem set differently, or even tipped it on a different paper to make it really stand out and highlight the work-within-the-work.

While I understand wanting to keep the bindings somewhat consistent, I hope to see a little more variety in the interiors going forward.

A teaser for next week book announcement. Looks like the deluxe edition will be available in 2 colors.
https://www.instagram.com/p/DGWZvqWyeYM

>340 NathanOv: I had a similar opinion from the first short-stop (I missed the second one). I feel like its short length really lends itself well to being more book-artsy. Without having the constraint of a 500 page book, why not use more interesting interior papers? I would love to see some handset type, etc.

>342 921Jack: That would be really great to see. If I were interested in collecting hardbound, custom marbled paper short works like this using handset type and mouldmade paper with more “artsy” designs for $110, what are some of the other press s I could look for to add to my collection?

Thornwillow’s dispatches are somewhat similar, but aren’t hardbound, and use decorative paper instead of marbled. And as far as I can tell aren’t handset and the papers are nice enough but nothing fancy, for $125.

Pegana press makes beautiful books on great paper and are handset, but are 4-5 times the price. Even their chapbooks are $220.

NRP’s Above All Else was handset and entirely handmade, in fact, on nice-looking paper, but was soft bound and around $200-245.

Nepenthe Press made a lovely little letterpress edition of Poe’s Fall of the House of Usher, very similar to CTP small books, and that was about $200 and public domain.

Or do you mean add a little bit more to the design and production even though the price may go up?

>344 What_What: I think the closest comparison I can think of is The Library a Wilderness from Gaspereau Press, which sold for $60 in 2021. Gorgeous typesetting, printing in multiple colors, a nice quarter cloth binding.

Actually, almost all of Gaspereau's fine press titles are good examples of how to really elevate shorter works with prices ranging $25 - $150, though most of the others have decorative paper wraps.

Looking back a few decades, Cheap Street Press was another that frequently did short sci-fi / fantasy publications, not necessarily with as fine typesetting or papers, but with very creative interiors and frequent uses of multi paper types.

>344 What_What: Honestly, I would be happier for slightly higher production value, even if the price goes up a bit. The price of buying more interesting paper is a lot lower if you're buying a lot less of it.

The short-stops are kind of interesting to me in the value argument, where I would honestly rather get one regular copy of a full sized book than 3 really small books. E.g. there are a lot fewer presses printing affordable BIG books at a quality that interests me, but many presses printing short / small books.

Either way, simply due to the fact that Tony at CTP is essentially the manager / designer of the press and doesn't do any of the printing / binding, his prices will always be higher than many other one or two person shops who do everything themselves. Also, Tony goes through the headache of getting the rights to print copyrighted works, which is also not cheap or easy, and something most other presses don't go through. So, his prices will always be higher than that of Gaspereau Press, or Gibraltar Editions, or buying books directly from Hand and Eye, or Nomad Letterpress. I don't see that as a bad thing, he is producing different sorts of work from all of those other presses, and obviously there is a market for it.

>340 NathanOv:
>342 921Jack:
>344 What_What:

The choice of papers has become the Achilles heel for many of today's private presses. The closure of several premier paper mills over the past several decades, e.g., Hayle Mill/Barcham Green, Zerkall Mill, St. Armand Papeterie, has greatly limited the availability of these papers and the prices have skyrocketed, prohibitively so if one is publishing full length novels as Thornwillow Press, Curious King and Conversation Tree Press are doing and prices would become unaffordable for most collectors. A handful of modern private presses had the foresight to acquire these papers years ago, e.g., Foolscap Press, SJPP, Whittington Press (before it retired from publishing), and can/could still issue editions on the finest handmade and mould-made papers.

If you crave private press editions printed on exquisite papers, the solution is obvious. One must turn the clock back to the twentieth century and identify the private presses that specialized in using the finest papers yet remain available at reasonable prices. Specifically, think of Alberto Tallone Editore, Bird & Bull Press, Perishable Press, and, of course, the Allen Press. Additionally, the No reply Press (NRPP) smaller editions feature excellent papers at affordable cost.

It seems as though the 'Tom Kidd book' has finally been outed. Someone in the FB group had the idea of simply googling 'Tom Kidd Jules Verne' and...bingo! Quite impressive keeping it under wraps until this point though, even with some hints.

With his twin strategies of announcing some titles one year+ in advance and keeping others secret until the very last minute, I've come to the conclusion that Tony may well be a marketing genius :-)

348: Twenty Thousand Leagues Under the Seas would have been my second guess. Even though the beam of light did match the storyline of Journey to the Center of the Earth perfectly, the seabirds never quite fitted in.

>348 Levin40: Ha that’s funny!

The email is out with the production details of 20K Leagues. I have mixed feelings. The standard (collector's) edition is not appealing to me at all with the boards/binding. I also don't love the choice for type. That being said, the Deluxe is much more handsome with some nice upgrades and the salmon skin leather on the lettered edition is going to be quite interesting. Would like to see how that feels on the hand though I do kind of wonder about its durability/longevity?

Details have been released: https://conversationtreepress.com/pages/twenty-thousand-leagues-under-the-seas-j...

Its such a beautiful book but I already have the folio version that I've not read yet, perhaps I can justify also getting this because its a different translation. The deluxe would be my pick.

Honestly, this looks stunning. Exactly my kind of book. It could be CTP's best effort yet and there's some stiff competition. I'll be ordering the deluxe.

CTP's Deluxe editions tend to be their best-designed, IMO. No exception here. Incredible design on the leather. Anyone know about this translation? Is it the best one available in English?

The aspect of the deluxe treasure island I liked the least was the paper choice. I thought it lacked some of the character and charm that letterpress printing can provide on rougher paper. For that reason I'm considering a standard for this one.

>351 chase.donaldson: I think the Deluxe binding design is perfect for this story, and I love the illustrations as well. I have to agree on the type / typesetting though - the typeface is nice enough, but the long lines of text with tight leading seems quite crowded in the samples shown.

Why are "europe" and "america" lowercase in the opening paragraph?

And how can 400+250+26=626?

The illustrations are brilliant, and I concur that the binding on the Deluxe is particularly wonderful. Will probably try to land a Collector level edition myself, seems more doable and I like the interior paper choice better there. Less than US$300 for what is ostensibly a Nomad Letterpress book is a positive bargain, and nicer still that it's a full translation.

I think it looks stunning and I will definitely go for the Deluxe. I also like that the spine on the Deluxe has the same design as the Deluxe Peter Pan. Just hope that the slipcase on this one will be rounded at the top and bottom like it was done on Peter Pan as well...

>359 Shadekeep: Ah, I had not read the paper details on the standard - that presents a real dilemma for me since I also prefer Munken Rough over the paper used in Treasure Island . . .

The Deluxe edition is, once again, an exquisitely designed book.

Tony is, imo, the best designer in the genre press business.

But at $765, I’m debating if the somptuous binding is worth for me the extra $ versus the collector’s edition.

I guess it’d depend on how much I enjoy the story, but I haven’t read that book yet. I have 2 days to rectify the situation.

>359 Shadekeep: I really like the overall design, but some illustration inconsistencies bother me:

1. Diving helmets & suits designs differ in two pictures/color painting vs. black & white sketch.
2. "Squid of colossal dimensions" is rather a jumbo shrimp in the painting.
3. Sinking steam ship may be sinking in the right direction, but what I assume is stern (damaged bow ought to sink first) resembles that of a boat rather than a steam ship.

FYI - in CTP's website right click the small grouped image swatches and select Open Image in New Tab to see much larger illustrations in greater detail.

The deluxe is exquisite, but I will be ordering the standard – I like the design with printed boards

The choice of leather colors on the Deluxe is interesting. While the teal is a pretty color in its own right, the blue seems more evocative of the pelagic depths to me. Will be interesting to see how selection breaks down between the two.

I think the blind stamping and end papers look better in the dark blue version. However, I personally like the teal a bit more when considering the image on the front board.

There seem to be a few here concerned about the paper used for the deluxe. Is there actually an issue with it or is it that you just feel it wasn't a good fit for Treasure Island? On the CTP website it says it offers a 'superior reproduction of fine details when letterpress-printing pen and ink illustrations.'

>357 A.Nobody: Looks ok to my eyes.

>363 EPsonNY: This is some serious nitpicking. Who knows why they might have different helmets? Maybe they have different models like, you know, we have today. I seriously doubt he did that in error.

>367 Levin40: I don't consider the paper a deal-breaker, but the Munken offers greater tactile satisfaction to me. Also, the typeface tends to look better on it than on Naturalis, though the latter is superior for fidelity of illustration. The Naturalis can be a little too white under some lighting, though like my other statements here that is subjective and its appeal will vary from one person to another.

I wouldn't abstain from any edition just for using Naturalis, but given the option to have one in Munken makes the Collector tier that little bit more appealing to me. Even if it means the illustrations are that tiny bit "rougher".

EDIT: belated typo spotted

>367 Levin40: Completely agree, but it is one of my favorite novels. I own a facsimile of the first edition with extraordinary, but unfortunately only black and white, illustrations and have always wanted a fine press edition with color illustrations with possibly a new take on Nemo and Nautilus.

This edition looks good enough for me to consider buying it notwithstanding small inconsistencies in illustrations. At least it is not Easton Press Deluxe Limited Edition of Fountainhead with some photographic illustrations resembling those from cheap romance novel covers...

>368 Shadekeep: Thanks. Given the number of large b&w illustrations here (33) I would assume that's why he made the choice.

>369 EPsonNY: I understand. However, I very much doubt you're going to get a better fine press version of this title any time soon, if ever. In my opinion, the illustrations are wonderful in terms of imagination and execution, and the good surely far outweighs any minor 'inconsistencies' you might find in a few small details. It'd be a shame to miss it for that reason.

>357 A.Nobody: Interesting, they have been changed to uppercase :) The advantage of digital mock-ups, I imagine. More importantly, the books look great and I'm happy that there is enthusiasm for this title. Coincidentally, I just finished my first reading of this book yesterday and don't see myself getting a new copy. But if I were in the market for a 20k, one of these editions would tempt me.

>370 Levin40: I suspect you are correct. Similar logic no doubt underpinned the choice for Treasure Island too. And I agree that the illustrations are especially delightful in this new offering, and very apt.

My wallet is happy that it is a Verne book, I'd rather read it in French. But it is nonetheless a pleasure to see the reveal of a new CTP book. It always contains very inspiring design elements.

>354 Shotcaller: I’ve read this translation before and it’s definitely one of the better ones. Many early English translations actually abridged or editorialized the story a bit, and so that’s carried over to later editions. FP Walter’s translation, though, is actually complete and more faithful. It’s available on Project Gutenberg if you want to read it.

My dilemma is that I like the translation and love the Deluxe design, but I already have a copy of this translation bound by myself! The danger of the public domain haha

What are people's views on having the title at the base of the spine, as the Collectors and Lettered Editions will have? I cannot decide whether I find it irritating or charmingly unique.

>375 Opinacus: It seems rather apt

>374 Tambien: Thank you! Appreciate that insight. And tremendous that you've bound your own copy.

>375 Opinacus: I find it totally suiting this particular book

H.G. Wells! The Island of Doctor Moreau is a masterpiece. Strange, shocking, and hugely gripping. Suntup's edition was good. But one with art by, say, Vladimir Zimakov...that'd be a hot ticket.

>380 Shotcaller: I'd back a CTP Moreau, that's probably the Wells title that would appeal to me the most at the moment.

I'd also like to see John Wyndham get a fine press edition. The Day of the Triffids is probably the best choice, though I'd also be solidly behind The Kraken Wakes.

Ordered my deluxe edition in blue! Really waffled on which edition to go with, but I think I need to see one of their printed cloth bindings in person first to know if I like them for fine press books.

>382 NathanOv: "Ordered my deluxe edition in blue!"

Same here. I like the teal too, but in the end, I think the contrast between the Midnight Blue and the inset artwork on the front board was what swayed me...

Sounds like the Teal may be more rare in the future.

I went for teal. They both look good. To my taste the blue edges it but my daughter (who is more artistic than me) prefers the teal and anything I can do to encourage this reluctant reader to enjoy it one day ...

On Instagram they had put a poll. 2/3 of the people preferred the blue.

And Tony Geer has commented on a post on Facebook to confirm that "Midnight Blue is ahead by a mile and then some".

Blue's my favorite color, but I went for the teal; go figure.

I am still undecided. Midnight Blue was my initial choice, but teal has grown on me: it does not clash with the inset image and the blind stamping looks more pronounced on teal background.

At the moment, 108 copies left on the website (with a few copies set aside for Subterranean Press, I suppose).

Teal for me. Gorgeous-looking binding, and I love the illustrations, but I too would have preferred a less smooth paper for the deluxe. I understand that it’s better for the illustrations, but most of the book is text, and the tactile quality of rougher / textured paper brings so much joy to the reading experience (for me, at least!). I feel the same about the smooth varietals of Zerkall paper sometimes used by the Barbarian Press.

>390 BorisG: "the tactile quality of rougher / textured paper brings so much joy to the reading experience (for me, at least!)"

I concur!

Hmm, I'm a rights holder, but never received an email. Now, I am trying to log in and I am not recognized. I am not happy this morning.

>392 Cardboard_killer: Send a email to CTP. Tony is very responsive from my experience.

Edit : 79 copies remaining with 2 hours to go for the presale.

>392 Cardboard_killer: Have you tried emailing the press? No one here can do anything to help, as cathartic as it might be to share.

>394 LT79: I had wondered if it’d be another oversized title in series with Treasure Island based on the similar teases ahead of the announcement.

>397 LT79: It is - exact same trim size, so it'll be nice and consistent.

Deluxe sold out as I was inputting my credit card. Settled for Collectors Edition
Sold out in 2 mins!

Congrats to those of you who snagged the Deluxe.

>399 sdawson: I wasn't in the market for the Deluxe but had a peek and saw 50 were available at the appointed time. I suspect a lot of people manage to power through the checkout by using ApplePay or similar to shortcut having to enter card details.

I'm glad there were a good number of Collector's Edition available, albeit they're selling at a good clip.

ETA: Or - and this would be a real shame - buying bots have become a thing in the world of fine press books.

Grabbed a Collectors. Wasn't sure I would, but the illustrations, translation, and involvement of Nomad ultimately sold me on it. Taking all the factors together the Collector edition is a bargain.

>399 sdawson: I am a bit surprised at the relatively low number of collector editions sales. If I had not purchased the deluxe, that would have been an insta-buy for me. Great looking edition!

Managed to snag a deluxe copy. Saw 75 available when I first got the page to load and used saved information in my Shop account to expedite the checkout process. Seemed to sell out in about a minute based on my refresh of the page after purchase. Didn't take the time to try note my preference for the blue version and will follow up by email instead.

I'm glad to see CTP's front cover art game is still strong; the Foundation, Solaris and 20k trio have proven to be very consistent in that regard. And speaking of, that's the third book I've purchased from CTP of which is meant to ship Q4 this year, I hope they don't end up overextended.

>405 wongie: Do we think that’s just because of the genre or is it more of a deliberate design language choice for collector’s edition? I wonder if we’ll see future collectors editions reverting back to the more traditional three-quarter cloth and paper of Pan, Flowers for Algernon, Faun, etc.

Perhaps the trio you mentioned just lend themselves to illustrated covers.

>406 cyber_naut: I definitely think it's a bit of both, the trio, and more broadly speaking classic and especially golden era sci fi, certainly lend themselves to illustrated covers and so I wouldn't be surprised if it's therefore a deliberate design choice for the collectors editions to, in a way, pay homage to that era of retro cover art. For Foundation they they managed to do both styles as the deluxe was more in a traditional quarter cloth and marbled binding. If they continued with authors like Heinlein, Clarke, Bradbury etc, I don't expect them to revert to the classic Algernon style binding for the collectors as books from those authors are also ripe for illustrated covers, but titles from Le Guin for instance might work better with the cloth/paper combo.

Conversation Tree Press just announced they are (also) doing an edition of Perdido Street Station. It doesn't feel like they were quite ready to announce this (though they've clearly been working on it for a while), which makes me wonder if they felt rushed into the declaration by Folio Society announcing their limited edition.

https://conversationtreepress.com/pages/perdido-street-station-china-mieville

>408 ambyrglow: The timing is definitely not a coincidence. With no sense of release timing for CTP though, I wonder if it would be enough to dissuade people from picking up the Folio version.

I am not a collector of Folio LEs so waiting for the CTP edition is a no brainer.

>408 ambyrglow: Just saw the email too and had exactly the same thoughts. I think it was a good move to announce it prior to the FS release. CTP all the way for me.

>409 PJ-Reads: I probably wasn’t going to buy the Folio Perdido, but their similar announcement timing on Kindred did stop me from reluctantly springing for the Arion edition.

I believe they do specify this is coming in 2026, at least!

That came as a surprise; so definitely the CTP edition for me...

>411 NathanOv: I missed the subtle reference to 2026, thanks.

>409 PJ-Reads: I was definitely fully on board to buy the Folio edition (which looks quite nice) until I got this email. But I'm happy I can delay that expenditure until next year now!

Wonder if this is going to be part of the Weird. collection 🤔

>347 dlphcoracl: Still, with the Bradbury title coming in at 18 pages (including titles and colophon), the 6x9” trim size could have probably been printed 9-up on a single sheet of nice mould-made from any of several mills, at an increased materials cost of maybe $5-10 per book. (If I’m not hallucinating in some fashion.) Anyway, a needless disappointment, IMO.

The newsletter is out, and as expected it looks like the ill-advised US tariffs are throwing a spanner in the works. Still, a lot of positive news as well.

>418 Shadekeep: I'm frankly curious to see if the US even has the infrastructure to begin collecting tariffs on individually packaged and shipped consumer purchases like these.

>419 NathanOv: Likewise. I'll know soon enough since I have a package from Barbarian Press due shortly.

Like when the UK left the EU it it possible that a lot of shipments pill up at the border the first weeks.

>422 Ragnaroekk: All I'll say on that matter is that I appreciate Tony's kindness and consideration for US collectors, especially since he has no obligation to do anything other than ship the books coming over the next few months that he's already been paid for.

I don't understand why >422 Ragnaroekk: was flagged? Per policy "LibraryThing prohibits personal attacks, name-calling, commercial solicitation and spam, but not much else. Disagreeing with the content of a message is not grounds for flagging."

>424 astropi: I did my part and counter-flagged the message.

>424 astropi: It is a political message and this isn't the group for politics

ETA: Have I made this rule up? I can't see politics listed as not being acceptable, I thought that all politics was meant for the 'Pro and Con' group, however this might be something I have made up in my head

As a US collector, I definitely appreciate the press putting in the work to help mitigate the damage. I imagine a hefty amount of their sales are from the US, so I am sure this work is mutually beneficial.

I also really appreciate the press telegraphing their production for the next 2 years (as much as possible). This really helps me have an idea as to budgeting over the long-term.

>426 DMulvee: I have to disagree. First, when politics impacts books purchased from publishers that are constantly discussed in this group, then those politics/policies are fair game. Secondly, in my mind it was not a political "message" but an opinion. People are of course welcome to disagree, or you can also ignore the thread and/or poster, but at the end of the day I don't think flagging was appropriate.

>422 Ragnaroekk:

Fancy books are going to be the least of our problems. Appreciate Conversation Tree's openness in what we are all potentially dealing with.

I'm waiting for this tariffs issue to hit Europe, hopefully later rather than sooner. It's safe to say that US sellers will not try to mitigate things the way CTP do.

>432 SF-72: Most retaliatory tariffs so far have been targeted at specific industries. I would hope that the EU would so the same, and if so I very much doubt that anyone would bother to include books, which are chicken feed in the scheme of things. Fingers crossed anyway.

>433 Levin40:

Fingers crossed indeed.

>420 Shadekeep: May I ask if it's the Wordsworth collection? That looks pretty tempting...

>435 Shotcaller: Sorry, it's Pastoral Elegies (plus the two Wayzgoose and two Loose Canon chapbooks). I was sorely tempted by An Eye Made Quiet, especially when they informed me only a few remain, but the budget didn't allow for both. It stands a good chance of being one of those future "kick myself" situations, as the book does look gorgeous in photos. The contents of Elegies are more my thing, however.

EDIT: And incidentally it did arrive today, sans tariff, so it must have passed one or more of the exemption criteria (time of transit, value, material, etc).

Pastoral Elegies looks lovely. Would love to know your thoughts when you've looked through it (side note: is there no Barbarian Press page here?).

>437 Shotcaller: Happy to do so!

There is an older thread for them here, could be necromancied back to life if desired: https://www.librarything.com/topic/291828 . I've seen more ancient threads return from the grave, after all...

>438 Shadekeep: Thanks! Appreciate it.

>439 Shotcaller: I've cracked open Pastoral Elegies and am very pleased with it. It is handsomely designed and printed, and the engravings came out beautifully. (There is a portfolio of the engravings also included in a separate casebound volume next to the main book). The book is a good size too, something that becomes more important to me as I get older. If the two works contained within interest you, as they do me, then the asking price is a very fair one for the fine press workmanship.

Incidentally, the two Loose Canons are certainly worth tossing into any order as well. The interior printing is quite delightful in these.

>441 Shadekeep: How many pages is the book? Yeah... I'm old enough to require reading glasses :)

>442 astropi: The book is 60 pages, but it's on Zerkall ENE mouldmade paper and so is nice and thick. The typeface is a pleasing size and the margins feel right. Really the whole assemblage is very suited to the subject matter.

>441 Shadekeep: Thank you! Appreciate your insight. I’m sorely tempted.

>436 Shadekeep: What did you make of the Loose Canon pamphlets, if you've had a chance to look through them? Worthwhile?

>445 Shotcaller: Oh yes, definitely. There are good-sized chapbooks with deckled covers and very pleasing printing work. If you're a fan of chapbooks and/or interested in the poetry, they're an easy buy.

>446 Shadekeep: You sold me on ‘em. Thanks!

>447 Shotcaller: Groovy, and would be interested in hearing your own impression when you get them.

>447 Shotcaller: >448 Shadekeep: Any chance to move this discussion to a dedicated thread? Thanks!

>449 Levin40: If you like. The aforementioned one - https://www.librarything.com/topic/291828 - is fine with me if @Shotcaller wants to pick it up there.

Pretty striking that 90% of the press’s offerings - 27 of 30 - are sold out. Strong tribute to the value CTP offers.

CTP posted a small teaser of the emblem artwork for the next Weird volume:

https://www.instagram.com/conversationtreepress/reel/DHTgqFbM6N9/

From the email just sent: Weird Volume 2 'copies will be signed by the author and two artists...'. Hmmm, the plot thickens. Which living author could it be? Wouldn't have expected a living author to be included in the series (at least, not this early on) and can't really think who it could be. Unless it means author of the introduction, but if so, why not just write that?

>453 Levin40: Perhaps the author in this case is the editor/compiler?

>454 Shadekeep: Yes, I thought about that too, but if so I think he would just have written 'editor'. I suppose there are plenty of living options (Ligotti, VanderMeer, Mieville, Campbell...) but I just assumed he would go through the giants of the golden age first. Probably a mistaken assumption!

454: That could be since S.T. Joshi signed The House on the Borderland, but the blurb probably should have said "signed by an author" in that case. It is public knowledge that two Machen volumes with Zimakov illustrations are on their way. However, the secrecy surrounding the main artist suggests that Volume 2 is going to be something else.

Edit:
455: I am going to guess China Miéville since the forthcoming Perdido Street Station has already been announced.

Huh - I had thought the emblem art tease was spot-on for The Great God Pan, and now I’m scratching my head to think what else it might be.

>453 Levin40: Just to be precise, and as an aside to your main question, that line in full from the email says "Copies will be signed by the author and two artists have contributed artwork". There follows a reveal of one of the two artists. So it doesn't say that the two artists will sign... A minor point but I wanted to manage people's expectations! (they probably will both sign now)

458: Sveta Dorosheva did not sign The House on the Borderland, so there is a good chance she will not be signing Volume 2, either.

>455 Levin40: >457 NathanOv: Fair dues, could indeed be a living author then. I wonder if Joyce Carol Oates qualifies as a weird author?

I'm still holding out the probably unreasonable hope that some weird fiction line will eventually do Edogawa Ranpo.

Tony confirmed on FB that the book is indeed signed by the author. So not Machen...

>456 supercell: "I am going to guess China Miéville since the forthcoming Perdido Street Station has already been announced."

Didn't Tony say Perdido Street would likely be published next year? If so, that wouldn't fit with his recent statement that Weird volume 2 would be finished printing by the time of pre-orders in May. It won't take until next year to bind and ship it.

>461 Dr.Fiddy: "Tony confirmed on FB that the book is indeed signed by the author. So not Machen..."

Now that would be well and truly weird if Machen signed it, worthy of a weird story in and of itself.

462: Well, Perdido Street Station is 867 pages while the Weird series mostly focuses on shorter fiction (The House on the Borderland & Others is just 296 pages), so I obviously did not mean it would be Volume II. However, it is now known that CTP has acquired rights for PSS from China Miéville (who, in all likelihood, will end up signing that edition), so Tony may well have worked out something else on the side (or vice versa).

>464 supercell: Well, it was not obvious to me. If you were not guessing the author of the work(s) in the forthcoming Weird volume 2, what were you guessing?

465: I was guessing China Miéville and his shorter fiction (most likely some of the shorts collected in Looking for Jake, which also include The Tain, and/or possibly one of the shorter novels, such as The City & the City) for Volume 2. Not Perdido Street Station, though, since it would be too hefty a tome to be included in the Weird. set (just have a look at the recent Folio edition). It will no doubt work better as a standalone (unless CTP chooses to do the whole Bas-Lag, obviously).

Can only think of Ramsey Campbell....

>467 frik51: Thomas Ligotti and Jeff VanderMeer were also mentioned above as candidates. And someone whom Ramsey Campbell has praised as “quite possibly our finest modern writer of spectral tales“ is Reggie Oliver. Other possibilities are Mark Valentine and John Howard.

Apologies if this is common knowledge, but I was really happy to read this comment from Tony on Facebook about a week ago:

"At the time pre-orders began, The House on the Borderland & Others (HOTB) Collector's Editions did not come with rights. In retrospect, they should have have, just as Foundation Collector's have rights.
So those who pre-ordered Collector's Editions of HOTB will have rights to Weird. Volume 2, along with anyone who purchased a copy second hand. We'll have to work out the logistics for that, but Weird. Volume 2 Collector's Editions (and all future volumes) will have a higher limitation than HOTB, so both of those groups will be able to pre-order copies if they like."

>459 supercell: I think Dave McKean did the emblematic art for The House on the Borderland. That's why Sveta Dorosheva is not signing.

470: Ah, yes, you are right. It would have made sense to have a single artist do the emblematic art for the whole series when the main artist keeps changing (you know, for consistency's sake) but apparently that was not the case here.

Sea of Tranquility by Emily St. John Mandel was just announced as the final title for this year (November time period for sale). I am very excited about this one! If all goes well, I would hope they produce Glass Hotel + Station Eleven as well.

>472 NotSoSlimShady: I really enjoyed this novel - a surprising starting point for this author, though. I wonder if Station Eleven rights were tied up with Sub Press's fairly recent edition, though I'd also love to see it done in series with Sea of Tranquility

Anyone have a list of all the 2025 titles?

>474 Inceptic: It's on this page (scroll down).

>472 NotSoSlimShady: Just got the email as well, I'm stoked for this one! Definitely one I'm going to try to snag when it goes public.

>472 NotSoSlimShady: Very excited for this, and want the other two titles as well! I've read both (haven't read Sea of Tranquility yet), and found Glass Hotel to be even more compelling than Station Eleven!

>474 Inceptic:

CTP's schedule for the remainder of 2025:
• May: Weird. Volume 2
• July: Guy Gavriel Kay’s Tigana
• September: Isaac Asimov’s Foundation and Empire
• November: Emily St. John Mandel’s Sea of Tranquility

>475 A.Nobody: >478 Dr.Fiddy: Thank you both!

Does anyone know the author for Weird Volume 2?

Has anyone received their Weird volume 1 yet?

>480 ultrarightist: My copy showed up just about a week ago.

>481 921Jack: Going deluxe on this one was a reluctant upgrade for me, and now I'm kinda wishing I'd stuck with the standard so I could be reading it right now!

>481 921Jack: Standard or deluxe?

>483 ultrarightist: Deluxe haven't been shipped yet

I didn’t hate sea of tranquility but I definitely felt like it didn’t live up to the hype for me. There was half of a really good book in there but the story fell apart in the latter third. She has a big fan base though so I’m happy for her that she’s getting the fine press treatment and I’m sure it will sell very well.

A good reception for Sea of Tranquility. I read Station Eleven earlier this year. I enjoyed it but much preferred McCarthy's The Road which really moved me. For those hoping CTP will follow up with Station Eleven and Glass Hotel, other than the Foundation trilogy they haven't repeated an author. So some ground for hope, but for me I want them to keep mixing it up.

I've not read Sea of Tranquility, and perhaps it's very good. But the book was only published in 2022, and I'm not quite sure what I feel about any title getting such lavish treatment after so short a time. If I'm going to spend $500-$1k on a book I would like to know that it has at least some chance of standing the test of time, although of course nothing is guaranteed. My personal feeling is that a book should still be popular at least 10 years after publication to be considered.

I read it and did not care for it. Funny, over in the folio society folder there are people complaining about "recent" authors such as McCarthy, King, and Murakami being printed!

>488 LT79: Agree with this opinion. Same as the discussion speculating what will be relevant in 50 years. There was even some reference to a classic novel (that I have read) implying that only books that are deemed relevant by prizes are worth preserving. Books should speak to a person and that’s what makes them relevant. Who cares how much staying power a book has if you like it.

>488 LT79: Why not? I more often than not use this as a criteria in deciding whether it's worth my time at all. There's so much to read out there, of which none of us can hope to read but the smallest fraction, that I would rather focus on works that have (at least somewhat) stood the test of time. Helps to eliminate the modern day 'bestsellers' driven entirely by marketing campaigns and tiktok hype, for example.

>493 LT79: I'm not sure you entirely got my point. I'm not saying that general opinion of a title will sway my feeling about a book I've actually read, I'm saying that I use it (at least in part) to decide what to read in the first place. And I find sustained 'general opinion' over time is a far more useful metric in deciding what to read than the confusing morass of publications, marketing and social media opinions which make up the present day. Time serves to remove the weeds. And surely we all do this to some extent? If you wanted to read a 19th Century classic, why pick up a Dickens (or any still well-known author) and not some other random Victorian writer whose work has long been forgotten? Isn't that just 'general opinion' over time?

I mean, I would find your reasoning completely valid if one could read everything which has been or is being published, and form a personal opinion on all of it. But given that that's not the case...Anyway, it's an interesting discussion.

>473 NathanOv: I am also intrigued by the starting point. But who knows, maybe a future edition of Station 11 would be another SubPress/CTP collaboration.

One thing I am very interested in is the outer design / art direction. In my opinion, the north american trade cover nailed it (which seems rare compared to UK covers most of the time). I hope the art direction of this edition can channel that vein.

>497 NotSoSlimShady: I’m no book designer, but I could picture a light grey leather blindstamped with moon-rock pattern as an interesting base for whatever they do with the cover

>495 Levin40: Your comparison about Dickens is fallacious - it only works if it’s possible to slingshot ourselves 100 years into the future to see what’s still popular. As we can’t do that, we have to pick from what’s available today. Unless you’re saying people only read Dickens back then, and nothing else.

>499 What_What: Not really sure what you mean. My point is a very simple one. All I'm saying is that I, personally, prefer to read fiction which has stood the test of time, at least to some extent (I proposed 10 years in my original post, not 100 years). Amongst which I'm hope you'll agree we can include Dickens. There is a limit to how much any of us can read in our lifetimes. I would rather read good books than bad or mediocre ones, and I tend to find that reading books which have stood the test of time is far less risky. I'm not saying I never read brand new works; I do sometimes, but I'm usually disappointed, and generally the more hyped up a work is the more it disappoints. For example, I occasionally try Booker prize winners, but I usually find them overhyped and now I tend to avoid them. I may occasionally miss a gem with this attitude, true, but I find I avoid far more dross, and anyway I can still read the gem in years to come. There are of course caveats and nuances too, e.g. for authors I already know well I am of course happy to try their new works. Btw: this only really applies to fiction; I'm happy to read newly published non fiction and often do.

I found that when I splash out on an unknown author, it's usually thanks to one of three sources:

1. A publisher I like - A number of small publishers have a consistent ethos and type of work they support, so when I find one that publishes work I like, I'm more often to try another title from them. Some of the ones I've had success with are Archipelago, Persephone, and Dorothy.

2. A private press - Quite a few private presses have turned me on to writers I likely wouldn't have found otherwise. Some of what I said about publishers above applies to private presses as well; if you like some of their output and trust their vision, there's a good chance you'll like other things from them too.

3. Community - I frequent sites and communities (including this one) that discuss the kinds of books I would be interested in, as well as place with reviews I trust. I've gotten some great recommendations that way (including recent reads like The Tartar Steppe and The Employees).

>502 LT79: Aye, I shy away from sources of recommendations that are primarily affiliated with buzz, hype, or any of the industry self-awards. They are beyond useless, both in impartiality and in the quality of the reviews. For the same reason I am utterly put off by any kind of preview or trailer (for a book, movie, game, or any other media) in which every third second is a quote from some rando's review floating up at you. "The epic of the year" - The Rudderless Spaceship Podcast. "A work of unparalleled vision and style" - Dungeon Cheerleader Elves In Leather. Seriously, there are a blue million niche websites and the like devoted to every corner of media, so getting quotes like these is less impressive than your mother telling people she thinks you're brilliant.

I read The Stronghold translation as well and loved it. I probably start (and don't finish) ten books for every one gem like this I encounter. (I followed it up with The Singularity, which I did like as well, but The Stronghold remains my favorite of his works so far.)

>504 LT79: I'm more a PVC guy.

>503 Shadekeep: Dungeon Cheerleader Elves In Leather

I might have seen that movie...

>506 ultrarightist: Hopefully the version in 3D.

I think "Dungeon Cheerleader Elves In Leather" could make a hit video game :)

>508 astropi: Having recently played, on my partner's recommendation, Lollipop Chainsaw, I would tend to agree. ^_^

Back on topic, Tony mentioned to me in an email that there are plans at CTP to have Jason from Greenboathouse involved in more titles to come. I personally think this is a great news, as Jason is a marvelous printer and designer. His participation can only increase the acclaim of an already-well-acclaimed press.

508: How could it improve on Leather Goddesses of Phobos? Come on...

>511 supercell: haha... well, more elves?

You know, Teenage Mutant Ninja Turtles is not any more crazy than Dungeon Cheerleader Elves in Leather... just saying :)

>480 ultrarightist: mine’s arrived today - standard. A great production. Good quality paper, binding cloth and, as per, a sturdy slipcase. McKean’s illustrations are a delight - I rarely don’t enjoy his work. If the selection of titles and the standard of production continues at this level, I suspect CTP will, in future, be best known for this venture. Very happy purchase!

>480 ultrarightist: my Deluxe arrived yesterday. Absolutely brilliant design - I’m a big fan of marbled paper. Was surprised at how many illustrations are in the book too (although perhaps I shouldn’t have been, given the illustrator!). There are a few cracks in the foiling on the suede spine, but I think that is natural.

>516 willraven: Out of curiosity, would you mind sharing some images? Wondering if it could be something to do with the chosen material

>516 willraven: Do you find dust is an issue? I understand suede can be a dust magnet.

>517 drizzled: I can imagine suede being tricky to make a gilt stamp take, or whatever is the required technique.

My copy seems fine tho.

>518 Shotcaller: I'm not seeing any dust so far, and my condo is a big dust magnet in general.

Seems actually better on the dust front than the black book cloth often used by Centipede Press.

>518 Shotcaller: It has picked up some dust, but it is a very small amount and I certainly wouldn’t have noticed otherwise.

>517 drizzled: Here is an image of the front boards and spine. The ‘flaking’ I was talking about is mostly happening on the double lines near the base of the spine. I have uploaded some more photos to my user gallery showing the insides of the book.

>522 willraven: I am very much looking forward to receiving my copy of the deluxe edition, but I am not a fan of suede. It is the one element of this book that dampened my enthusiasm for it (slightly). Tony, if you're reading this, please use full-grain leather in the future Weird volumes.

>523 ultrarightist: I have a deluxe copy in hand, and I don't have any issues with the suede so far, but the foil cracking shown by >522 willraven: is a bit concerning. It's a solid volume, and I am happy with it, but I would offer one constructive criticism:

The paper was apparently chosen as the best option for reproducing the colour artwork, which looks great, but I find it an unusual paper for letterpress text. It is smooth, very white, and almost feels like a coated finish. I'm interested to hear what other collectors make of it.

It's a nice book, thoughtfully designed as ever, and a solid start to the series. Hats off to CTP for that. I hope for different paper for the rest of the series, though.

Yeah, colour and texture wise it's directly against my personal paper preference. Great for the artwork, no question.

>522 willraven: thank you for the extensive showcasing!

I received my copy too – the binding is gorgeous (I do love the very deep black of the suede, and how it contrasts with the superb marbled paper). Love the abundant illustrations and overall design, but I have to agree with >524 GardenOfForkingPaths: and >525 JanPospisilCZ: re paper: it doesn’t quite fit with the rest of the aesthetic, being very, very white and smooth…

With the very regrettable closure of Zerkall, are there any currently-produced papers which have the same almost universal appeal for letterpress printing?

>526 drizzled: You are welcome!

Now that I have been reading it for a few days, I also agree with the others about the paper quality and texture.

Regarding the foil cracking, I have seen some photos online from other purchasers with the same thing happening on their books, so it is not specific to my copy.

Having said that, my overall opinion of the book is still incredibly positive. The suede in particular makes the book look a lot darker than the black leather books that I own (including Lyra’s Stardust and Coraline) which makes the gold foil stand out even more.

>527 BorisG: Hahnemühle mould-made, perhaps?

Tony, if you're reading this, consider the above for future Weird volumes.

>529 ultrarightist: Another vote for Hahnemühle Biblio mould-made paper :)

>530 Dr.Fiddy: And another here.

In the news about Treasure Island winning first place at The Alcuin Society Awards, Tony gave a clue about an unannounced title:
"Marc and I are working on another book together, nautical in theme and in a similar format to Treasure Island."
https://conversationtreepress.com/blogs/news/treasure-island-first-place-alcuin-...

I received my deluxe copy today. Overall, I am pleased - a very positive assessment. I love the illustrations, and the marbled paper is excellent, with just the right amount of gold. As I indicated above, I'm not a fan of suede, but I don't dislike it as much as I thought I would. Nevertheless, I hope Tony uses full-grain goatskin or calfskin for future volumes. I echo what others have said about the paper. It makes the illustrations 'pop', which is why it was chosen, but it is not optimal for the text. While the text is printed crisply, which I appreciate, it doesn't have as much of a bite as I would prefer. I want the weirdness to flow into the paper, as it were. Perhaps Tony will consider Hahnemühle Biblio mould-made paper for the future Weird volumes.

Does the thematic frontispiece look/feel offset printed to anyone else?

>533 ultrarightist: “I want the weirdness to flow into the paper, as it were”

This is, frankly, what I was most hoping for with a fine press weird fiction series. Something a little more tactile that helps immerse you in the text. It feels almost sterile as is.

I like it enough to give the next one a shot, but it verges on one of the biggest “crimes” of modern fine press, which is simply publishing what could have been a trade edition, just with finer materials and letterpress printing.

>534 NathanOv: "This is, frankly, what I was most hoping for with a fine press weird fiction series. Something a little more tactile that helps immerse you in the text."

Yes, exactly. This is the reason why I hold Pegana Press's output in such high regard - the tactile, immersive text printed with the hand-press, yielding very black, crisp print and a distinct bite. Incidentally, Pegana uses Hahnemühle paper for many of its volumes.

It might be an option to return to tipped-in illustrations on their own appropriate paper, while choosing the paper for the text to be more appropriate for letterpress printing - although I can understand why this may not have been feasible for House on the Borderland, given the shear number of illustrations. As many have mentioned, Hahnemühle Biblio mould-made paper would be a good option. I'm also interested to see how the Magnani Pescia mould made paper for Foundation turns out. Also, another vote for a bit of 'bite' on the letterpress.

I'm not sure if a better paper for the deluxe would be wise, as it may then detract from the lettered? One of the surprising traits seen for CTP (and also Curious King) has been the strong demand for the numbered options, and at the same time the (fairly) weak demand for the lettered. If you strengthen the numbered further, this could lead to cannibalisation of the lettered (especially given the unusual stone on the lettered, will others be designed like this in the future?)

>537 DMulvee: I wouldn't say demand for lettered is exactly weak They're all sold out on the CTP site. Sales might be slower than before though, and there do seem to be less lotteries. But yes, clearly there aren't going to be too many people who are able to regularly splash out $2000-$4000 on a book. In my opinion, it was a lot of the same guys purchasing lettered editions from multiple presses. And with the new presses like CTP and Curious King ramping up production, as well as Suntup pumping out a book a month, something eventually had to give for a lot of them.

Nice, just picked up The Paper Menagerie in the Restock and Dinged Sale.

>533 ultrarightist: I don't mind the suede here, but mostly as it is appropriate for thematic reasons. In just about any other case, I think goatskin would be superior in both aesthetics and durability.

I agree with everyone's comments about the paper choice. It would be much improved with more texture.

This seems to be a recurring CTP choice, to prioritize the reproduction of the illustrations over the realization of the entire concept, and perhaps my only grumble.

Still a solid book and certainly my favorite edition of any works by Hodgson to date.

I just picked up There Will Come Soft Rains, which is great as I was very disappointed when I didn't get it the first go 'round.

>538 Levin40: It is the secondary prices on the Facebook group that are the concern. I have seen four lettered 'Flowers from Algernon' selling, and all were less than the initial price (I bought one), the lettered Foundation went for a lot less than the initial price. The lettered weird seems to be going for about it's initial price (two have sold, I paid a $100 premium for one, the other sold for the initial price). Those buying the lettered cannot be happy that if they sell they are continually doing so at a loss, when the standard and numbered (for 'Flowers for Algernon' in particular) are going at a substantial premium. If this continues, people will no longer buy the lettered directly.

I’ll add to the chorus of those who would prefer more bite to the letterpress printing and more texture to the paper.

That said, does the press offer great value? To my mind, absolutely.

>542 DMulvee: Some will still do so, in particular those buyers who don’t expect ever to sell.

>542 DMulvee: The fact that a significant percentage of the lettered buyers (from a pool of only 26 of course) seem to be buying these books to immediately sell, often prior to receiving them, must be a large part of the problem. That's not sustainable. There are just too many presses frequently releasing lettered editions these days.

>545 Levin40: One wonders if those people are lifetime subscribers. If they receive a discount, maybe they’re still making a profit.

None of my business. But that might explain it.

>541 amysisson: Aye, that was the situation with The Paper Menagerie for me. As a completist I'm glad I can continue collecting the series now.

>510 Shadekeep: That's fascinating news! Very curious to learn which titles he'll be involved in.

>537 DMulvee: I agree with everyone's thought on the paper-too white, too bright, too slick. I wouldn't say better paper is needed, but different paper would be better in my opinion. I compared it to the other CTP books on my shelf and I vastly preferred the paper chosen for them to the paper in HOTB. As >533 ultrarightist: stated above, it doesn't have a WEIRD feel to it.

>549 SDB2012: Exactly - while a tactilely pleasing mould made would of course be wonderful, there's plenty of papers with more appropriate texture and color for weird fiction texts that wouldn't require any cost increase at all.

Though, I will add that Amaranthine Press has somehow managed to commission custom Hahnemühle mould made papers for books at similar price points, and I believe that's allowed them to adjust paper specifications book-by-book.

>551 LT79: 😆👍

>551 LT79: The paper just doesn't fit the weird. That doesn't make it weird.

>540 abysswalker: "This seems to be a recurring CTP choice, to prioritize the reproduction of the illustrations over the realization of the entire concept, and perhaps my only grumble."

You hit the nail on the head.

Hi All. I do check in here from time to time, and I appreciate being able to hear from collectors directly. It’s nice to know when all the boxes have been checked for an edition, but it’s even more valuable to know when there’s an opportunity to improve on future editions. And I’m always open to constructive feedback.

I was a member of this forum for over a decade before I first thought of Conversation Tree Press. I learned a lot during that time, and all of that knowledge goes into the books we publish. Hearing from you is a continuation of that process.

Our editions contain much more artwork, on average, than many other books out there, and sometimes this can prove to be a challenge during production. It would certainly be cheaper, faster, and I’d get much better sleep at night if we commissioned fewer pieces, but that’s not the kind of book I want to make. The first and most important question every book has to answer when we’re planning it is: “Is this a book I would be happy with as a collector?” Everything else comes after.

As with every title, we aim to reproduce the artwork as best as we possibly can. For The House on the Borderland & Others, there were 29 pieces of full colour artwork. Across 451 books that would have been over 13,000 pages tipped in by hand one at a time - an impractical exercise. This meant we had to reproduce the colour artwork (offset) and text (letterpress) all on the same paper. We proofed many papers, running expensive offset proofs of all the artwork on each one, and this was the artist’s preferred choice to reproduce the colour artwork.

Solaris presented a similar challenge, with 16 full colour pieces and 14 black and white chapter headers that could not be printed well enough letterpress. The chapter headers were also not full page, so tipping them in was not an option. However, for this title, we decided to stick with papers we typically use, and in the end both the artist and I were happy with how the offset-printed full colour pieces were reproduced on Fedrigoni Arena White 140gsm (Collector’s and Deluxe) and Magnani Pescia 160gsm (Lettered).

I’ve always been a fan of showing versus telling, but some of the changes that have already been made will take months or years to get into collectors’ hands so I thought I’d let you know what’s coming:

- The paper used on the Collector’s and Deluxe states of The House on the Borderland & Others will not be used again, or any other similar paper.

- The Deluxe Edition of Twenty Thousand Leagues Under the Seas will not be printed on the smooth Naturalis paper that was used for the Deluxe Edition of Treasure Island. I was already reconsidering the choice of this paper when we found out that it was discontinued. It will likely be printed on the same paper we’ve just used for Weird Volume 2 deluxe, which I think you’ll be pleased with. More info on that soon.

- Many of our Collector’s Editions have been printed on Munken Cream Rough. We’ve found another paper that we like and works really well for that state, so we’ll be introducing it on some titles to offer some variety.

- Our multi-state books have a trim size of 6.7in x 9.5in (170mm x 240mm), larger than the conventional 6in x 9in. This limits our paper choices as many mouldmade papers are simply not made at a large enough size, or at a large enough size in the grain direction we need.

- All Short Stops books going forward will be printed on upgraded mouldmade papers. This will allow us to use papers we’ve never used before as these books have the smaller trim size of 6in x 9in, opening up our paper choices. We’ve already earmarked Zerkall Bütten 8181 110gsm, Somerset Book Soft White 115 gsm, and Velin Arches Blanc 160gsm for upcoming editions. We’re also looking into BFK Rives and Hahnemühle, among others. These are all papers we would use for Deluxe and Lettered Editions if they were larger.

Again, I appreciate all the feedback. You’ll see that it is already shaping future books, even if it will take some time to come to fruition.

>556 CTPress-Tony: Fantastic, sounds like a positive step forward, and the new paper choices sound like they will meet a better middle-ground for text and art. Those are some choice papers you have lined up for the Short Stops as well. Thanks for taking feedback on board!

>556 CTPress-Tony:

I really enjoy this kind of information, especially as I'm new to fine press collecting. Thanks for all your hard work!

>555 LT79: Right you are!

>556 CTPress-Tony: Great updates - frankly, I'm quite impressed with how quickly some of them are being implemented as well! I look forward to my next few books on order from the press.

I certainly wouldn't want to see the press cut back on artwork at all, though there might be cases where I'd be satisfied with a slightly less than the best possible reproduction if it benefits the majority of pages which are still text alone.

>559 LT79: If only a half dozen commenters had elaborated on why it didn't feel quite right - perhaps mentioning specifics such as the color, texture, weight and finish ...

>556 CTPress-Tony: Thank you for the extended insight and updates, Tony. The changes you mentioned are very encouraging.

There are a lot more pages of text than there are illustrations, so it makes sense that satisfaction of both aspects of the production be prioritized. This direction makes sense.

>556 CTPress-Tony: Thank you Tony for your update and comments on papers. I'm the lucky owner of Peter Pan Deluxe and Flowers for Algernon Deluxe. I think both were printed on really beautiful papers; Magnani Pescia Edition 160gsm and Madrid Litho 160gsm, respectively. They are my absolute favorite papers of the Deluxe editions so far. So, here’s hoping that similar textures and weights of papers will find their way to future Deluxe editions as well... 😊

>565 Dr.Fiddy: Totally agree on those papers.
>556 CTPress-Tony: Thank you for a detailed response. Love your books. The paper for HOTB (too slick, too bright, too white for my tastes) is the only concern I've had with any of the books so far. Did I mention I love the books?

I was hoping the deluxe Treasure Island paper would have more of a treasure map feel. To correct for that I took the book out back and burnt the edges. 😜

>567 Shadekeep: hah! Please don't give us any bright ideas.

>556 CTPress-Tony:

Thank you for all this information. I for one really appreciate the fact that you're reproducing the illustrations in the best possible quality. That's something that often frustrates me with other publishers. And illustrations are a main part of my pleasure in editions such as yours, so the quality of those is of great importance to me. I was really impressed by The House on the Borderland. I would also like to say that I love the fact that you're including a larger number of illustrations. They really enrich a book for me.

Just to add to my post from yesterday, copies of the most recent Short Stops have arrived. Here’s a little preview:

>570 CTPress-Tony: Zerkall ❤️ The texture looks lovely in the photo.

>570 CTPress-Tony: Thank you for your considered response. For me personally, the single most important aspect of a book, in terms of materials, is the paper choice. I have several of your books and the best of papers, so far, is that used in the deluxe Peter Pan. I’m looking forward to the volume that’ll use ‘Somerset’ - gorgeous quality. Your work to date, Tony, has brought genuine pleasure to many - long may it continue. 🍺

>570 CTPress-Tony: Much better! If I had to go only on the paper in the Bradbury short stop, I doubt I’d buy any others.

The Paper Menagerie arrived today from the special sale. One page with tiny fraying on the top of the page and a single spot in the text. More than acceptable for a handmade book this nice, glad to have gotten it.

Received my "dinged" copy of Paper Menagerie. I'm going to propose an unpopular opinion: contemporary book collectors are way too picky on what are basically minor "defects" on what are very much handmade objects where some variation is to be expected. The way I see people over on the Folio Society pages freaking out over every minor bit or blemish on those books is kind of silly (FS being very much a non handmade object, of course for the most part). Of course there is some room for debate on what constitutes a minor blemish but overall I think there is a tendency towards persnicketeyness today that I find objectionable.

>575 chase.donaldson:
I agree, but it seems to be those of the FS Facebook pages that are far more picky than those on the LT FSD site.

>575 chase.donaldson: I respectfully disagree. I was fairly lenient about small FS defects when the prices were much lower but with prices for a nice trade hardback at $150+ with the US 20 percent price premium, I started rejecting any books that had defects. This was a particularly easy decision when the FS was shipping my books in large plastic sling bags that had square boxes delivered as spheres. With regards to fine press books, I expect new books that cost $1000+ to be relatively pristine, no giant ink blobs, no crushed corners, no torn pages. I don’t think this is too much to ask. Damaged goods should be sold at a discount and most fine presses do exactly that. They also pack their expensive books extremely well - I appreciate that.

>577 kdweber:

Exactly.

>556 CTPress-Tony: thanks for all the details.

I just checked, and it seems like most of my recent Folio Society standard edition purchases feature illustrations printed on different paper stock than the rest of the text block. Why is this approach not an option?

I checked both A Wild Sheep Chase and The Other Wind, and though the front matters only specify Abbey Wove in each, the tactile difference of the illustration pages is impossible to miss. The illustration stock feels like Modigliani to me.

I can see that this approach might not make sense if the illustrations are partial pages or heavily integrated into the text (which is certainly the case in, say, Treasure Island), but is mostly not true of other releases, such as The House on the Borderland, which uses almost exclusively full page illustrations.

>579 abysswalker: I think the main issue with this approach is that it makes it hard to sync the illustrations with the text and it does not give you freedom to space the illustrations as you wish. Illustrations are inserted individually at the start of a section or by pairs folded within a section.
I often find that annoying in FS books that the illustrations come a couple of pages before or after the text they are associated with.

>580 David_Mauduit:

Exactly that. It can really ruin one's enjoyment of a text if the illustration is in the wrong place, worst of all when it comes before the scene it belongs to. That happens quite a bit with Folio Society.

>581 SF-72: seems like an easy fix to make sure the illustration is after the relevant scene (sometimes happens with integrated or tipped in illustrations, too; the issue is being cognizant of the text, not the placement approach).

In any case, just an idea.

I definitely prefer to have the illustrations in the right place. That's hardly doable if they're printed on different paper and not tipped in, but integrated into a section. And with the sheer number of illustrations in House on the Borderland, I understand completely that they didn't want to tip them in. I also really enjoy it when the illustrations and the text are intertwined. The recent Gormenghast by Folio Society with McKean as illustrator is a wonderful example.
So I'm really happy with the choices Conversation Tree Press and McKean made for their edition. I'm admittedly not the huge letterpress afficiniado some on here are, though I do enjoy a beautiful paper. But I've got no complaints about the book.

It's wonderful that "Gibbet Hill" has been rescued from oblivion and slated for the Short Stops series. I look forward to seeing it soon.

S.T. Joshi appears to confirm that Weird. Vol. 2 will contain the works of Ramsey Campbell. From today's entry on his blog:

"The first of the twenty volumes of weird fiction that I have compiled for Conversation Tree Press, a Canadian publisher of limited edition books, has appeared: William Hope Hodgson’s The House on the Borderland & Others . . . . The edition, however, appears to be already out of print in all three states: the collector’s edition ($275), the deluxe edition ($585), and the lettered edition ($1895). Next up, I believe, will be a selection of Ramsey Campbell’s weird tales, signed by Campbell, myself, and an artist whose identity I’ve forgotten. As you can see, the prices of these various states are not for the faint of heart!" http://stjoshi.org/news2025.html

Thoughts?

>587 P.Casimir: Great! Campbell is a fabulous choice, and one of the few great living horror writers today. Also, I'm super happy to hear that CTP plans to publish 20 Weird Tales volumes! I wish it was 40 instead of 20, but I'm super stoked :)

>587 P.Casimir: Somewhere on his site Joshi listed most, maybe all, of the writers appearing in the series.

589:
Ambrose Bierce
Algernon Blackwood (x2)
Ray Bradbury
Ramsey Campbell
Lord Dunsany
William Hope Hodgson
M.R. James
Thomas Ligotti
H.P. Lovecraft (x3)
Arthur Machen (x2)
Walter de la Mare
Clash Ashton Smith

Of this dirty dozen, Campbell and Ligotti are the only ones still alive.

Additionally, four anthologies:
Classic Ghost Stories (x2)
European Tales of Terror
Poems of Weirdness and Terror

>590 supercell: Very helpful, thank you! An excellent list overall.

I am not as acquainted with S.T. Joshi's view on the genre as perhaps I should be, but it strikes me as interesting that Poe has been omitted. Maybe Joshi considers Poe's approach to horror more "gothic" than "weird"? Or perhaps Poe has just been "overdone" by other fine presses? In any event, I expect some representation of Poe in the anthologies, if nowhere else.

>590 supercell: Just a note that this list is no longer accurate.

No R.E. Howard?? :-(

>591 P.Casimir: >594 NovelNexus: I suspect Poe is considered an antecedent and a writer of the gothic/macabre. Weird is both a genre and, in certain ways, a style of a time period.

I'm a bit surprised at the omission of Robert W. Chambers, though he did write more than just weird fiction. Possibly he falls in that antecedent category as well.

>593 frik51: Good point. Many consider Worms of the Earth one of the finest Weird Tales every written. I would be surprised if we do not get REH at some point.

>595 Shadekeep: Also a great point. We need a fine press edition of The King in Yellow!

>596 astropi: The King in Yellow is being published by Pegana Press in multiple volumes.

>596 astropi: >597 ultrarightist: In an edition that is on an entirely different level production-values wise, but will probably come in 2-3x what a Conversation Tree Press edition would when all is said and done.

>598 NathanOv: I was going to say that but didn’t want to sound negative. It’s $500-600 per chapbook. It will probably be thousands of dollars by the time it’s done.

The full book is some 300 pages, and Pegana's books tend to be 20-30 pages, furthermore I don't believe they've committed to publishing the entire work. According to their website they decided to publish "The Repairer of Reputations" for their first King in Yellow book. The "signed edition" for this work is $700, so I think when all is said and done it might be 4-5 times what a CTP edition would cost, and again there's no indication they are going to publish the entire volume. All that said, it's definitely looking like a beautiful production -
https://peganapress.com/robert-w-chambers

>593 frik51:

Though I do not understand it and it pains me, my understanding is that Joshi does not care much for Howard’s work. I will be surprised to ever see a Howard volume in any line edited by Joshi.

>601 HowardEriksonWolfe: Ouch - sad to hear; love his work myself, very much so.

>600 astropi: I would much prefer a complete volume of the entire contents, including the "Streets" stories, which show a much broader range of Chamber's writing than just Lovecraftian weird fiction. Something with more subdued artwork too, perhaps black-and-white ink sketches. I would happily pay top dollar for a fine press volume like this.

>603 Shadekeep: not fine press, but the Centipede Press Masters volume for Chambers includes this and some other stories. It's a bit of a chonker, but surprisingly maneuverable for such a large volume (probably because it is more tall and wide than thick). A nice compromise option in any case, with wonderful art.

>601 HowardEriksonWolfe: I don’t know. He had issues with House on the Borderland (“marred by defects”; “succeeds as a series of horrific interludes but not as a unified novel”), too.

Here’s hoping we get some Howard.