World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1992, Japanese
Softcover, 176 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - In stock -
Issue No.43 of the great SALE2 periodical from Tokyo Japan during the late 1980s and early 1990s.
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.43, the "Sexploitation Films" issue features "Biker Films, Beach Party Films, LSD Films, Women in Prison Films, Mondo Films...", a filmography from "A Taste of Flesh" (1967) to "The Wild, Wild World of Jayne Mansfield" (1968), a long interview with cult director Herschell Gordon Lewis, Russ Meyer, plus Carlo Mollino, Pierre Molinier, John Willie, Guido Crepax, Irving Claw, Betty Page, Gilles Berquet, and periodicals such as Sweet Gwen's, Bizarre, Gwendoline, Rigorosa Disciplina, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
1992, Japanese
Softcover, 192 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - In stock -
Issue No.42 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.42, the "Transformation" issue features collected writings and images around the themes of body transformation, transsexuality, including Pierre Molinier, Mari Akasaka, Kyoko Okazaki, Toyen, Hans Bellmer and Unica Zürn, Henri Maccheroni, Robert Chouraqui, Greybuck's The Equestrians illustrations, Sophia Lamar, plus loads of other images/catalogues of bondage and fetish related arts, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy with tanning to pages.
1986, Japanese
Softcover, 160 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - In stock -
Issue No.28 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty bookshop and publisher of fetish and erotica in Tokyo in the 1980—90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.28, the "Fetishism" issue features collected writings and images around the theme of fetish by John Willie, Bizarre Magazine, Pierre Molinier, Irina Ionesco, Bernard Faucon (his incredible Summer Camp series), Irwing Klaw, Centurians Publishing Inc. bondage catalogues, Andy Warhol and much more... What's more, this issue comes complete with a green synthetic feather to kickstart your own sensual adventures.
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
1983, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$60.00 - In stock -
August 1983 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good—Very Good copy with some general wear and cover rubbing.
1983, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$60.00 - In stock -
October 1983 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good—Very Good copy with some general wear and cover rubbing.
1979, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 - In stock -
January 1979 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Very Good copy with some general wear.
1974, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$55.00 - In stock -
April 1974 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Very Good copy with some general wear/tanning/staple rusting.
1979, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 - In stock -
April 1979 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Very Good copy with some general wear.
1974, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$60.00 - In stock -
March 1974 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Very Good copy with some general wear and rusted staples.
1975, Japanese
Softcover, 274 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$70.00 $60.00 - In stock -
SM Kitan December 1975 issue, featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982). A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was a leading SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abuhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. Ran Akiyoshi (1922–1982) illustrated many of the iconic covers, with regular contributors including Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Very Good copy. Light wear/age.
1973, Japanese
Softcover, 1306 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Taiyo books / Japan
$60.00 - In stock -
January 1973 issue of SM KING, legendary Japanese SM magazine edited by Oniroku Dan (1931—2011), "the most celebrated writer of popular SM novels in Japan", published by Taiyo books between 1972—1974, with each issue featuring many colour and b/w photo features, illustrations, and fetish fiction. Regular contributors included actress Naomi Tani, Toshiyuki Suma, Norio Sugiura, Takashi Tsujimura, Yoji Muku, Gekko Hayashi (Gojin Ishihara), Tadao Chigusa and Juan Maeda. This issue featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982), plus the work of Tadao Chigusa, Ko Minomura (Reiko Kita), Naomi Tani, Toshiyuki Suma, Juan Maeda, Oniroku Dan, and many many more.
Very Good copy. General light wear/age/marking.
2010, English
Softcover, 128 pages, 21.5 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Creation Books / London
Shinbaku Books / London
$70.00 - In stock -
Long out-of-print first 2010 edition.
UKIYO-E ― "images from the floating world" ― were the most popular art-form of 19th century Japan. Like modern-day manga, these prints could be mass-produced and were admired by people from all sectors of society; and as in manga, the art of ukiyo-e included significant sub-genres dealing in violence, erotica and horror.
With unflinching images of weird sex, bloody carnage and grotesque, demonic ghosts and monsters, "Dream Spectres" is a powerful collection of the extremes of ukiyo-e, featuring the work of such artists as Yoshitoshi, Ekin, Kunichika, Yoshiiku, Kunisada, Hokusai, Kuniyoshi, Yoshitsuya, Hiroshige, Kyosai, and Chikanobu.
"Dream Spectres" features over 170 amazing full-colour images, including the complete Eimei Nijuhasshuku ("28 Blood Atrocities") of Yoshitoshi and Yoshiiku, and ranges in content from bondage and bestiality to decapitations, demons and designs for classic irezumi (body tattoos). This is Japanese art not only at its extremes of imagination, but often at its most highly accomplished and innovative.
VG copy
1998 / 2009, English
Hardcover (w. dust jacket), 72 pages, 32 x 24.5 cm
1st Edition, Out of print title / used / fine
Published by
Morpheus International / US
$150.00 - In stock -
"Beksinski's powerfully unique paintings are such as I have never before seen"—H.R. Giger
Wonderful, scarce and collectible monograph capturing 30 years of the work of the great Polish painter Zdzisław Beksiński, published by Galerie Morpheus in Las Vegas. First issued in 1998, this lavishly illustrated hardcover monograph reproduces Beksiński's surreal dystopian paintings spanning his entire career, alongside an introduction by James Cowen, texts by Tadeusz Nyczek, and great quotes and reflections throughout by Beksiński himself.
Zdzisław Beksiński (1929 – 2005) was a Polish painter, photographer and sculptor. Beksiński had no formal training as an artist. Born in Sanok, he studied architecture in Kraków and worked as a construction site supervisor before turning to his passion for art, sculpting with construction site materials for his medium. His early photography would be a precursor to his paintings, often referred to as dystopian surrealism. Beksiński claimed, "I wish to paint in such a manner as if I were photographing dreams". Beksiński undertook painting with a passion, working intensely whilst listening to classical music and quickly becoming a leading figure in contemporary Polish art. In the late 1960s, Beksiński entered what he himself called his "fantastic period", which lasted up to the mid-1980s, during which he created his famed images of desolate, surrealistic landscapes with intricate depictions of anxious, abstracted figures and architecture in states of decay, mutation and decomposition. Although Beksiński's art was often dark, he himself was known to be a pleasant person with a keen sense of humour. Modest and somewhat shy, he avoided public events such as the openings of his own exhibitions and almost never visited museums or exhibitions in general. He always credited music as his main source of inspiration. Beksiński avoided concrete analysis of the content of his work, saying "I cannot conceive of a sensible statement on painting". Beksiński was stabbed to death at his Warsaw apartment in February 2005 by a 19-year-old acquaintance from Wołomin, reportedly because he refused to lend the teenager money.
"In the medieval tradition, Beksinski seems to believe art to be a forewarning about the fragility of the flesh – whatever pleasures we know are doomed to perish – thus, his paintings manage to evoke at once the process of decay and the ongoing struggle for life. They hold within them a secret poetry, stained with blood and rust." — Guillermo del Toro, Mexican film director
Very Good—Fine copy of the later expanded edition, now long out-of-print. With VG—Fine dust jacket.
1982, Japanese
Softcover (w. dust jacket and plastic sleeve), 126 pages, 33 x 25 cm
1st Edition, Out of print title / used / good
Published by
Bijutsu Shuppansha / Japan
$140.00 - In stock -
Published in 1982 and long out-of-print, Masquerade is one of the finest artist books of Japanese illustrator and graphic artist Aquirax Uno. Lavishly illustrated and elaborately designed and directed by the artist himself, this beautiful album collects Uno's most stunning fantastical illustration and painting throughout the 1960s—1980s, alongside texts and photography of Uno in his atelier. Masquerade collates a cross-section of Uno's graphic work spanning his entire career, his iconic and innovative print, book, and theatre works, including many new, unpublished works and illustrations printed in large format across many full-colour fold-outs — a wonderful way to capture his decadent, provocative, stream of consciousness line work in intimate detail. Highly recommended!
Aquirax Uno, also known as Akira Uno (b. 1934) is a Japanese graphic artist, illustrator and painter who was very influential in the 1960s and 1970s. His incredibly unique work is characterized by fantastic visuals, capricious and sensuous line flow, flamboyant (and occasionally grotesque) eroticism, and frequent use of collage and psychedelic bright colours. Uno was prominently involved with the Japanese underground art of the 1960s–1970s, and is particularly notable for his frequent collaborations with Shuji Terayama and his experimental theater Tenjo Sajiki.
Aquirax Uno, also known as Akira Uno (b. 1934) is a Japanese graphic artist, illustrator and painter who was very influential in the 1960s–1970s. His incredibly unique work is characterized by fantastic visuals, capricious and sensuous line flow, flamboyant (and occasionally grotesque) eroticism, and frequent use of collage and psychedelic bright colours. Uno was prominently involved with the Japanese underground art of the 1960s–1970s, and is particularly notable for his frequent collaborations with Shuji Terayama and his experimental theater Tenjo Sajiki.
Good copy with heavy foxing to cover edges and end pages, original publisher's textured plastic protector sleeve with usual slight shrinkage from age, edge wear. Sample images only.
1981, English
Softcover, 84 pages, 29.3 x 29.3 cm
1st Edition, Out of print title / used / very good
Published by
Wild & Woolley / Sydney
$150.00 - In stock -
First 1981 edition of this large-format, full-colour monograph on the inimmitable American–Australian illustrator, artist and concept designer Ron Cobb (1937—2020), published by Wild & Woolley in Glebe, Sydney. Profusely illustrated, Colorvision is a chronological survey of the diverse artwork of Ron Cobb, from his early days in Los Angeles, where he was born, to Sydney, where he moved in 1972 and spent most of his life. With accompanying bio and texts and anecdotes from Cobb's collaborators, the book comprehensively surveys his earliest work in Hollywood, his Monsters covers, his radical political cartoon work for the 1960's Underground Press, through to the dominant focus of the book — his groundbreaking 1970's concept art for major films including Dark Star (1974), Star Wars (1977), Alien (1979), Raiders of the Lost Ark (1981), and Conan the Barbarian (1982).
By the age of 18, Cobb, with no formal training in graphic illustration, was working as an animation "inbetweener" artist for Disney Studios in Burbank, California. He progressed to becoming a breakdown artist on the animation feature Sleeping Beauty (1959), the last Disney film to have cels inked by hand. After Sleeping Beauty was completed in 1957, Cobb was laid off by Disney and worked assorted jobs, painted covers for the legendary Monsters magazine, before being drafted and sent to Vietnam. After his discharge, Cobb began contributing to one of the first underground newspapers of the 1960s, New Age esotericist and editor Art Kunkin's Los Angeles Free Press, noted for its radical politics, as well as the Mother Earth News and other counterculture magazines. Cobb became regarded as one of the finest political cartoonists of the mid-1960s—early 1970s, outspoken on topics of war, ecology, and injustice. Cobb also created a symbol which was later featured on the Ecology Flag. Disenfranchise, Cobb moved to Sydney in 1972, and began contributing to the Australian alternative press, magazines such as The Digger, and published art books with Wild & Woolley. Cobb returned to cinema work when he worked with Dan O'Bannon to design the eponymous spaceship for the 1973 cult film, Dark Star (he drew the original design for the exterior of the Dark Star spaceship on a Pancake House napkin). After contributing designs for Alejandro Jodorowsky's uncompleted film adaption of Frank Herbert's novel Dune, Cobb was engaged by Lucasfilm to produce conceptual artwork for the space fantasy film Star Wars (1977). Working alongside artists John Mollo and Ralph McQuarrie, he created the designs for a number of exotic alien creatures for the Mos Eisley cantina scene. His incredible concept work continued with Alien (1979), Raiders of the Lost Ark (1981), Conan the Barbarian (1982), Back to the Future (1985), The Abyss (1989), Total Recall (1990), and Southland Tales (2006), and directed the Australian comedy film Garbo in 1992. During the 1990s, Cobb developed characters and designs for Rocket Science Games, becoming an influential figure in video game design just as he had become in film.
Very Good copy with light handling wear only, light tanning, edge wear to covers.
1979, English
Softcover, 155 pages, 31 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Dragon's Dream / Paris
$140.00 - In stock -
First 1979 edition of the wonderful Dragon's Dream collection of artworks from The Studio, a small artists' loft commune formed in 1975 by four comic book artists/commercial illustrators/fantasy painters in Manhattan's Chelsea district — Jeffrey Jones, Michael Kaluta, Barry Windsor Smith, and Berni Wrightson, known colloquially as the "Fab Four". The purpose of The Studio was to provide the group with a space where they could pursue creative products outside the constraints of comic book commercialism. By 1979, the "Fab Four" had produced enough material to issue an art book under the name The Studio, which was published by Dragon's Dream. This is that very book, the only book they published. The commune disbanded the very same year to pursue independent projects.
Lavishly illustrated with a huge amount of fine examples of each artist's output, from preliminary drawings to finished paintings and accomplished graphic/illustration works, broken into chapters with working texts for each artist and a full index. Artworks are accompanied by many photographs of The Studio behind the scenes. A rare insight into the work of some of the leading figures in fantasy art in the 1970s.
Jeffrey Jones (1944 – 2011) is known for their work with Metal Hurlant/Heavy Metal, Creepy, Eerie, King Comics, Gold Key Comics, Vampirella, Wally Wood's Witzend, and much more. Jones created the cover art for more than 150 books through 1976. Barry Windsor-Smith (b. 1949) is known for his work on Marvel Comics' Conan the Barbarian from 1970 to 1973, plus Marvel Comics work on Thing, Wolverine, work for Dark Horse Comics, Valiant, Gold Key Comics, Fantagraphics, and more. Bernard Wrightson (1948– 2017) is known for co-creating the Swamp Thing, his adaptations of works by Edgar Allan Poe, H. P. Lovecraft, Stephen King, and many horror comics for DC comics, amongst others. Michael Kaluta (b. 1947), famed for his elaborate fantasy art that beautifully merges eroticism with the supernatural, and his science fiction comic books of Starstruck and The Shadow, and much more.
Very Good copy, light cover edge wear only.
1993, Japanese
Hardcover (w. dust jacket), 220 pages, 13.6 cm x 19.4 cm
1st Edition, Out of print title / used / fine
Published by
Seikyūsha / Tokyo
$110.00 - In stock -
New Tribalism In Sexual City, Prick Up, Rubbers, Gay Fetishism, Consensual SM, Modern Primitives, Pre-Tech Tattoo, Fakir Musafar, Ignore the White Culture, Body Manipulation, Hyper Pornography, Harrison Marks, Allen Jones, She-Male, Mannequin, Kinbaku, Seppuku, Kyoko Hamura, Rightbrain, Trevor Brown, Roman Slocombe, Medical Art, Forest Of Guts, Auto Erotic, J. P. Witkin, Anatomic Images, Discipline, Yves Klein, Piero Manzoni, Otto Mühl, Hermann Nitsch, Rudolf Schwarzkoglar, Aktion, Meat Performance, Trans-Gender, Transmutation, John Gacy, Ed Gain, Death ...
First hardcover edition of "Terminal Body Play", written by Merzbow's Masami Akita and published only in Japan in 1993. Covering all the above subjects with b/w illustrations, "Terminal Body Play" explores a plethora of physical utopias, including a revived ancient culture of body decoration and manipulation, the pleasure of the body perverted by BDSM, the dematerialised body of performance art, the aesthetics of murder, medicine and anatomy, and so much more. Merzbow is a noise project created in Tokyo, Japan in 1979 under the direction of noise technician Masami Akita. As well as a legendary underground noise artist, Akita is a prolific writer in Japan and frequently writes on the arts, music, erotica, esoterica, modern architecture, and animal rights, with articles on emerging subcultures and underground extreme cultures appearing in publications like SM Sniper, Studio Voice and Fool's Mate. His development of the Merzbow aesthetic ran parallel with a series of investigative books in which he catalogued and introduced a vast amount of hermetic types of music, sexual practices and autonomous creativity to a fairly conservative (but not close-minded) Japanese audience. "Terminal Body Play" is one of these very books.
First edition, Japanese text, fine copy with fine "textured" and illustrated dust jacket.
1993, English
Softcover , 96 pages, 28 x 22.23 cm
1st Edition, Out of print title / used / very good
Published by
NBM / New York
$110.00 - Out of stock
First English 1993 edition of this classic work of erotica where the heroine is introduced to the pleasures of being administered—and administering—spankings! Legendary Italian comic book writer and artist Manara beautifully and abundantly illustrates the tongue-in-(ahem)-cheek text by Enard. Luxuriously presented trade paperback in sepia and black colours and with flaps. Originally published in France in 1991, translated into English by Elizabeth Bell for Eurotica, an imprint of NBM, New York. A favourite of Manara's collections, for obvious reasons.
VG copy.
?, Japanese
Softcover, 174 pages, 20.5 x 14.5 cm
1st Edition, Out of print title / used / good
Published by
Surugadai Shobo / Tokyo
$55.00 - In stock -
Rare copy of A Bizarre Pictorial, a one off, undated (looks to be late 1960s/very early 1970s) publication possibly affiliated with Erotica, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. A Bizarre Pictorial, published by Surugadai Bookstore, is "The Museum of Beauty, Mystery, and Perversion; The House of Pranks, The House of Cruelty, and The House of Nonsense". A books of Eros and Thantos — packed with heavily illustrated (colour and b/w) features, articles, photo and illustration galleries around the aforementioned chaptered themes, heavy with sadism, demonology, kinbaku, medieval perversions, history of misery, corpses, crime, possessions, black humour, Shunga artworks, and Japanese monsters (yokai). Essentially an illustrated book of weird and macabre world histories, phenomenons, perversions and customs, care of Kiyoshi Sumida, legendary bondage artist and editor Ueda Seishiro, artist Kawanabe Kyosai, and many more.
G—VG copy with light general edge-wear to covers and spine.
2025, English
Hardcover (w. dust jacket), 480 pages, 23 x 15.4 cm
Published by
Simon and Schuster / New York
$59.00 - In stock -
The first biography of Robert Crumb—one of the most profound and influential artists of the 20th century—whose iconic, radically frank and meticulously rendered cartoons and comics inspired generations of readers and cartoonists, from Art Spiegelman to Alison Bechdel.
Robert Crumb is often credited with single-handedly transforming the comics medium into a place for adult expression, in the process pioneering the underground comic book industry, and transforming the vernacular language of 20th-century America into an instantly recognizable and popular aesthetic, as iconic as Walt Disney or Charles Schulz. Now, for the first time, Dan Nadel, a curator and writer specializing in comics and art, shares how this complicated artist survived childhood abuse, fame in his twenties, more fame, and came out the other side intact.
More than just a biography of an iconic cartoonist, Crumb is the story of a richly complex life at the forefront of both the underground and popular cultures of post-war America. Including forty-five stunning black-and-white images throughout and a sixteen-page color insert featuring images both iconic and obscure, Crumb spans the pressures of 1950s suburban America and Crumb’s highly dysfunctional early family life; the history of comics and graphic satire; 20th century popular music; the world of the counterculture; the birth of underground comic books in 1960s San Francisco with Crumb’s Zap Comix; the economic challenges and dissolution of the hippie dream; and the path Robert Crumb blazed through it all.
Written with Crumb’s cooperation, this fascinating, rollicking book takes in seven decades of Crumb’s iconic works, including Fritz the Cat, Weirdo, and his final book-length comic of The Book of Genesis; capturing, in the process, the essence of an extraordinary artist and his times.
“This is a great biography that explores the complexity of one of the world’s greatest cartoonists ever.”—Art Spiegelman, author of Maus
1983, English
Softcover, 240 pages, 26 x 26 cm
1st Edition, Out of print title / used / very good
Published by
The Overlook Press / New York
$70.00 $40.00 - Out of stock
First 1983 edition of this classic first collected works of legendary graphic designer and illustrator, Milton Glaser (1929—2020), published by The Overlook Press, New York. Co-founder of Push Pin Studios, Glaser's absolutely iconic graphic work is synonymous with a bold, radical aesthetic shift through in the 1960's through the innovation of the counterculture's influence on the broader graphic landscape in America. Milton drew heavily from music, literature, and early 20th century artists to create his own signature style that consisted of playful, psychedelic graphics with controlled blasts of colours along with silhouettes and bold geometric outlines. Pop, psychedelic, jazz, esoteric and Anti-war sensibilities propelled Glaser's masterful modernism internationally and this book is the first to collect Glaser's most important work to date. 340 illustrations spanning posters, magazine covers, illustrations, logos, typography, packaging design, record sleeves, most of them accompanied by Glaser's own commentary. Includes an interview and complete list of works, with foreword by French illustrator Jean Michel Folon.
Very Good copy.
2017, English
Softcover, 112 pages, 27 x 19.5 cm
Ed. of 500 copies,
Published by
Re:collection / Melbourne
$40.00 $10.00 - Out of stock
Paperback Pioneers
Sun Books (1965–81)
Sun Books was an Australian paperback publisher formed in 1965 by Geoffrey Dutton, Brian Stonier and Max Harris. The three men had worked together at Penguin Australia, leaving to establish a platform for local literary talent. Brian Sadgrove, who would become a leading figure in Australian graphic design, was commissioned to create Sun Books’ distinctive identity and many of the publisher’s covers during the 1960s and 1970s. This book includes an introduction by Warren Taylor and essay by Dominic Hofstede, detailing the imprint’s colourful history. Also featured are more than 80 covers designed by Sadgrove and other significant practitioners including Ken Cato, Robert Rosetzky and Guy Mirabella.
Design: Dominic Hofstede
Published in an edition of 500 copies
2016, English
Softcover, 384 pages, 24.8cm × 18.5cm
Ed. of 3000,
Published by
Unit Editions / London
$75.00 $30.00 - In stock -
In this book you will find the covers of design magazines, journals and periodicals of all kinds, spanning: graphic design, typography, architecture, interiors, print, theory and history. But above all, they are brilliant specimens of innovative visual design.
The covers found in Impact 1.0 are designed and art directed by an array of international designers, including: Otl Aicher, Herbert Bayer, Robert Brownjohn, Alexey Brodovitch, Will Burtin, Ivan Chermayeff, Alan Fletcher, AG Fronzoni, Anthony Froshaug, Ken Garland, Karl Gerstner, Franco Grignani, FHK Henrion, Yusaku Kamekura, E Mcknight Kauffer, Bruno Munari, Erik Nitsche, Paul Rand, Emil Ruder, Hans Schleger, Helmut Schmid, Herbert Spencer, Ikko Tanaka, Pino Tovaglia, Massimo Vignelli, Tadanori Yokoo and many others.
Featuring interviews with designers, art directors, editors and publishers of design magazines: Ken Garland, Rose Gridneff (UCA), Richard Hollis, Jeremy Leslie (magCulture), R Roger Remington (Vignelli Centre) Paul Shaw, Teal Triggs (RCA), Carlo Vinti (Progetto grafico) and Mason Wells (Bibliothéque).
1994, English
Softcover, 132 pages, 27 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
AK Press / Edinburgh
$100.00 - Out of stock
First 1994 AK Press printing of the book anthology of the first three issues of ANSWER Me!, the short-lived but ever-controversial Los Angeles zine edited by Jim and Debbie Goad and published between 1991 and 1994. At the forefront of 1990's "End of the Century"/anti-humanist/nihilist/piss-take underground rant/black humour publishing, ANSWER Me! focused on the social pathologies of interest to the Los Angeles–based couple ("Two Against The World, honest assholes in a world of dishonest ones"). The anthology sold thousands before going out of print. ANSWER Me! has been blamed for a White House shooting and a triple suicide. It has been banned in several countries and put on trial for obscenity in the USA. Chock full of well-written rants, interviews, and articles on topics ranging from music and subcultures to sex, love, hate, murder, serial killers, and suicide, this fat, gorgeous anthology contains the legendary rant-zine’s first three issues in their entirety.
"ANSWER Me! was so wonderful because it reminded me of when my uncle Joey turned me on to National Lampoon when I was eight years old. After National Lampoon I was always looking for uglier forms of humor, and then comes along ANSWER Me!"—Shaun Partridge, Partridge Family Temple
The mouthpiece of Jim and Debbie Goad, ANSWER Me! also featured written and illustrated contributors, from comic artists to serial killers, such as Adam Parfrey (Feral House/Apocalypse Party), Mike Diana, Boyd Rice, Peter Sotos, Charles Manson, Richard Ramirez, Molly Kiely, Jim Blanchard, Frank Kozik, Randall Phillip, Nick Bougas, Mark David Chapman, John Wayne Gacy, Trevor Brown, Kenneth Bianchi, Gary M. Heidnik, Phil Cisco, Marcel Ruijters, Larry Wessel, Tom Crites, Shaun Partridge, Ottis Toole, Henry Lee Lucas, Timothy Patrick Butler, Coop, who contributed the cover artwork to the anthology (and also the following issue 4), and others.
Issue No. 1 (October 1991) features interviews with Russ Meyer, Timothy Leary, Holly Woodlawn, Kid Frost, Public Enemy, Iceberg Slim, and pieces on Bakersfield, California, Sunset Boulevard, masturbation in literature, and Twelve-Step programs.
Issue No. 2 (July 1992) features Anton LaVey, David Duke, Al Goldstein, El Duce of The Mentors, the Geto Boys, Ray Dennis Steckler, 100 serial killers and mass murderers, Vietnamese gangs, and Mexican murder magazines.
Issue No. 3 (July 1993) features Jack Kevorkian, Al Sharpton, NAMBLA, the Kids of Widney High, Boyd Rice, Suzanne Muldowney, 100 suicides, guns, Andrei Chikatilo, pedophilia in Steven Spielberg's work, Mexican deformity comics[clarification needed], paintings and drawings by murderers, and a prank call to a suicide hotline.
"THIS IS HATE LITERATURE. IF YOU AREN'T FILLED WITH HATRED, THIS BOOK ISN'T FOR YOU. IT'S NOT WHAT YOUR MOTHER WARNED YOU ABOUT, BECAUSE THE OLD BITCH COULD NEVER IMAGINE SOMETHING SO VILE.
YOUR STUBBY, UNDESERVING FINGERS HOLD THE ENTIRE FIRST THREE ISSUES OF ANSWER Me! MAGAZINE-HERE ARE THE GENESIS, EXODUS, AND LEVITICUS OF THE "BIBLE OF HATRED." ANSWER Me! WAS CREATED BY TWO HUMANS WHO WERE BRAVE ENOUGH TO DENY THEIR OWN HUMANITY. THEY HAVE SAVAGELY SWALLOWED EVERY EXISTING SOCIAL PATHOLOGY, SLOSHED THEM AROUND INSIDE THEIR BILIOUS STOMACHS, AND REGURGITATED THE ONLY MAGAZINE WORTH HATING.
HATRED IS THE ONLY RATIONAL RESPONSE TO AN UNLOVABLE WORLD. LOVE IS FOR EVERYONE;
HATRED IS FOR THE FEW. IF YOU READ ANSWER Me!, YOU WILL BUILD SELF-ESTEEM
BY EXPLOITING THE SUFFERING OF OTHERS. THROUGH THE FINE ART OF "SCAPEGOADING," YOU WILL LEARN TO BLAME THE WORLD FOR YOUR PROBLEMS.
HATE EVERYONE YOU SEE TODAY.
YOU'LL FEEL BETTER.
HATRED IS THE EASY WAY OUT.
HATRED WILL HEAL YOU.
HATRED IS THE ONLY ANSWER."
—book jacket blurb
Mature audiences only!
VG copy with wear to extremities.