Journal

Showing posts with label dagmara matuszak. Show all posts
Showing posts with label dagmara matuszak. Show all posts
Saturday, January 18, 2014

Secrets, a quiet life, and several random books by other people

Life is quiet. I'm jogging daily, enjoying juicing fruits and vegetables, playing with my new phone, writing, being proud that Amanda is getting all the five star reviews in Sydney but have got quite used to not being in Sydney myself.  I'm shifting the weight I put on during the May to October signing & promotional tour, and, I hope, getting back into the kind of shape I stopped being in when the tour started in May.

I love toys that help and encourage me: I just got a heart-rate monitor that talks to my ipod Nano while I run. I'm just getting to the point where I need a whole slew of new music to jog to, though, as my exercise playlist, which is about 20 years old, is starting to feel too familiar. (But it will always start with Sondheim's Something About a War. And it must always have Elvis Costello's Waiting For the End of the World on it. Otherwise the pillars of the universe might collapse.)

My not being currently on Twitter meant that you did not have to endure any grumbles from me about Federal Express leaving packages at houses they were not addressed to, or, alternately, handing over packages to the US Mail service, who then stoutly maintain that the house I'm in does not actually exist and returned said packages to the sender.

Lots of long phone calls happening, each of them about something really interesting I can't officially announce yet. I think there must be about half a dozen of these, now. I'm looking forward to being able to talk about them all.

Normally, the reason I don't talk about them is simply that the deal to make the thing isn't quite done. Although sometimes it's because the wait between the thing being announced and the time it's going to be available is so long as to be silly.

Still, in case you were wondering whether or not Fortunately the Milk artist Chris Riddell was quietly and secretively working away on a secret sort of thing by me that I'm not even going to even allude to, why, yes, he is.  There are many clues as to what it is in this picture, from Chris's tumblr blog.




Lots of book-related things out there. Let's see...

Headline Books have just found that the links to allow you to buy their ultra-deluxe signed edition of THE OCEAN AT THE END OF THE LANE had all been taken down over the last six months, which explains why they still have a handful left. They've remedied that, and put up new web pages. It's only for sale to UK addresses and is an astonishingly expensive, very limited, beautiful object. They only did 260 of them, and have a few for sale: https://www.headline.co.uk/Articles/Deluxe+Edition+The+Ocean+At+the+End+of+the+Lane+Neil+Gaiman.page will tell you all about them. (All the other limited editions, which were less limited than this, have long since sold out.)




...

Polish artist Dagmara Matuszak illustrated a poem I wrote once, called Melinda, and made it into one of the most beautiful of my books. (Also one of the rarest: the few copies out there that book dealers have for sale are very VERY expensive.) 

I'm writing another poem for her, but not writing it as fast as I should.














...

Brad Meltzer just sent me some books he's ridiculously proud of, illustrated by Chris Eliopoulos.

He told me, "This series was born because I was tired of my daughter thinking that reality TV stars and loud-mouthed sports players were heroes.  I tell my kids all the time:  That’s fame.  Fame is different than being a hero.  I wanted my kids to see real heroes...and real people no different than themselves. For that reason, each book tells the story of the hero when THEY were a kid.  We see them as children.  So it's not just Amelia Earhart and Abraham Lincoln being famous--but them being just like us." 

They are funny, and readable and, yes, probably inspiring. For small kids, about real people.

...

I learned from Cory Doctorow that Michael De Larabeiti's Borribles are back in print as ebooks, with a China Mieville introduction. And Cory's article also included an astonishingly patronising and cowardly letter from Collins Publishers to Michael's agent, explaining why they had decided to renege on publishing the third Borrible Book, Across the Dark Metropolis. (It was published by Pan Books, and it was in a cafe over the road from Pan, shortly after this, that Michael and I met and had coffee, long ago, and I told him how much I loved the books.)

The Borribles -- pointy eared street children, battling the police and evil rodents in the alleys and underground of a mythic London -- were remarkable, and definitely were one of the streams that fed into Neverwhere.


Go and read Cory's article, if only for the Collins letter. http://boingboing.net/2014/01/16/the-borribles-are-back.html

...

Talking about the delay between things being mentioned and them happening, Hayley Campbell came out to my house over 3 years ago, and rummaged around in the attic and the basement, found things written on things, and drawings, and all sorts of stuff. She even took objects away with her, and left post-it-notes in their place. (You can read about it here: .http://journal.neilgaiman.com/2010/11/coffee-table-book-and-why-reality-is.html)

Then she interviewed me and other people, and she wrote a book. It's about the art and the stories. In some ways it's a lot like the book I wrote, long ago, about Douglas Adams and the Hitchhiker's Guide to the Galaxy.

I read a draft of the book a couple of months ago. Hayley is a smart and funny writer. She's also honest and opinionated. I liked it....

Today I saw a cover. Apparently, it's not the final cover. But, look! Hayley's book is coming into existence.



PS: Stop press - Amanda has become an Agony Aunt for the Guardian in Australia. I suppose it's fair exchange for the Australians sending the UK Guardian Pamela Stephenson.

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Sunday, October 07, 2007

be it never so humble...

I am home.

Which, after six weeks and over half a dozen countries, is a very nice thing to type.

I think I did the last ten days running on empty, and the last two days (Press Junket, Premiere, Press Junket, fly straight to New York, Wolves in the Walls opening night, fly home) by doing that thing they used to do in westerns where they start breaking up the train they're escaping in and throw it into the train's furnace to keep going.

My dog is here, and was a bit puzzled at first, but having dragged me off through the woods a couple of times has now decided that I am definitely me and this is a good thing.

My entire family is in the UK right now (well, all the female members of it, Mike is off in the west being a Google), but Bill and Sharon Stiteler were out here, planting trees and flowers and feeding the bees, so I made the three of us Maitake Mushroom omelettes this morning and realised it was the first time I'd cooked anything in six weeks.

Lots and lots of cool stuff waiting for me -- some of it I sent back, some of it is stuff that arrived while I was waiting -- foreign editions of books and suchlike. I'll try and take photos. I think my favourite was the Korean edition of Stardust...

The most beautiful thing was an advanced copy of the Hill House Anansi Boys notebook, beautifully designed by Dagmara Matuszak, containing all sorts of strange stuff, including my initial outline from around 1998 and the first 15 pages of an attempt at an Anansi Boys film script from around the same time (it has a Jerry Springer Show joke in it that feels extremely 1998). Seeing that many people, including me, had started to despair of ever seeing the finished books, I think this is a hopeful sign.

(Incidentally, Thea Gilmore has a new website at http://www.theagilmore.net/ from which I learned that the Cowboy Junkies are playing The Trinity Session in London at the Royal Albert Hall on Wednesday.)

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Friday, March 16, 2007

National Characteristics

It was one of those moments when you know you're in another country. Specifically Germany.

10:53 am – I'm in my hotel room answering a written interview questions when the phone rings. A woman's voice says,

"Hello. Mister Gaiman. This is reception. You must come down right now. There is someone here to interview you."

I say, "Er. He's actually a bit early, and I'm doing something..."

"Very good," she interrupts, firmly. "Then you will be down here in exactly seven minutes."

And she puts down the phone, leaving me bemused and leaving the interviewer, standing in front of her downstairs, fairly mortified.

I took nine minutes to get downstairs, thinking "Hah. That'll show her," as I did so, which really wasn't very fair on the interviewer.

The day's interviews were fun, the reading (in a Toyota Showroom, of all places) was very enjoyable, and I got to see the outrageously talented Dagmara Matuszak briefly and to learn what's going on with the Hill House Anansi Boys she's designed.

(While I can't tell you when Hill House will actually publish it, I'm happy to be able to say that I just learned from Peter Schneider at Hill House that he's set up a gmail account, with a person who will reply to all emails checking it, at hillhousepub@gmail.com. If you've had problems getting hold of him or anyone at Hill House, send an email there. If there's still problems, feel free to drop me a line.)


Dear Mr. Gaiman,
I had been thinking about the Subterranean(sp?) Press version of "M is for Magic" and it got me wondering. Does it ever bother you that sometimes these beautiful editions of your work are released and a great deal of your number one fans will never get to hold them, let alone own them because of the price tag? I am in no way saying these editions aren't worth the asking price, just wondering if you ever
wished they were more accessible. Hope your trip, family, and cats(especially Fred) are all well.
Thanks,
Troy


Not really. It would bother me if the expensive edition was the only edition of something that there was, that I wanted lots of people to read, but normally the expensive edition is expensive because it's a smaller print run, of a much higher quality, with special illustrations or similar, and they cost money. The Harper Childrens edition of M Is For Magic will be in a loverly affordable hardcover edition, priced for school libraries, and the first printing will be somewhere between 70,000 and 150,000 copies. The Subterranean edition will be in a comparatively tiny edition, and made for people who love books. I quite like the limited editions of things, mostly because I like beautiful books.

In your recent post you mentioned wanting a catapult as a child. In jest I am sure, but it reminded me of a time I was traveling through Europe and happened to be stranded at Heathrow for quite some time. In my boredom I happened upon a funny sign that listed among the things you most certianly could not bring on a plane, a hand catapult. I am not British, and was curious if that is what us Yanks refer to as a slingshot, or if it is something entirely different and much more destructive. =)
-Sean


An English catapult (or hand catapult) is an American slingshot, yes.


Dear Mr. Gaiman,There is a description for this contraption which says that it was made by an eccentric millionaire living in Utah. Seeing as you are eccentric, and at least assumably well-to-do, and living in my state, I was wondering if you could make one? And if you do, could you invite me over? I would bring deviled eggs, and curried chicken salad. http://geekologie.com/2007/01/girl_in_human_sling_shot.php
Much love,Rain

I don't have anywhere to set it up that wouldn't send her crashing into a tree, though...

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