Below are the six proposals under consideration to become Consensus Press’ second edition.

This ballot will be adjudicated using ranked choice. You will rank the proposals from your most preferred (1st) to least preferred (6th). For a summary of how ranked choice voting is used to determine a winner, here is a handy-dandy guide. 

No matter which proposal is elected, the Members will have a few weeks to hone that proposal through discussion, straw polls, and, ultimately, a final ballot. Each member is welcome to propose any change to the elected proposal. Please remember, however, that each proposal as written is our starting place if elected. 

Each proposal has been given a cost estimate and timeline estimate. Importantly, each estimate is based on an assumption of ~250 words per page, regardless of format, meaning that larger formats would imply larger type, spacious margins, etc. while smaller formats would imply the opposite. With some estimates, I have pointed out ways that the Members might opt (in the honing stage) to reduce the cost/timeline. Of course, there are also numerous ways the Members could opt to increase the cost/timeline on each proposal.

I have done my best to keep my commentaries neutral. I found myself surprised by the relative low overall range in estimated pricing – the lowest estimate is only half the price of the highest estimate despite its being a tenth the length. However, this “herding” phenomenon explains itself: the shorter proposals have used their shortness as an opportunity to propose finer papers, larger formats, new artworks, while the longer proposals have shown restraint in these regards. Bravo to all: these are six serious, entirely feasible proposals.

Ultimately, I would be thrilled to see any of these elected.

EXPANDED PROPOSAL:

A fine press, paperback-sized three-volume set of Gene Wolfe's The Fifth Head of Cerberus.

Why Paperback?: In the spirit of Veil's hypothesis, our edition will mimic the paperback aesthetic commonly associated with late 20th-century science fiction. The smaller format helps control production costs while maintaining fine press materials and craftsmanship. Nostalgic in appearance, but elevated in substance.

Why Three Volumes?: Making it a set allows for a more comfortable reading experience; each book is lighter and easier to hold. The three distinct narratives also lend themselves to separate volumes.

Inspiration: Take a look at St James Park Press's edition of Animal Farm here, or on the official website. This is the standard I envision for our edition.

Production Details:

Format: This project will be printed using automatic letterpress at duodecimo, resulting in a format roughly equivalent to a trade paperback.

Binding: Handsewn to ensure the book opens flat, preventing spine damage and preserving its shape over time.

Paper: Crane's Lettra for the textblock. A practical alternative to mould made paper for a project of this size. Complementary paper for the endpapers to help reinforce the binding.

Typeface: I tend to prefer something simple, like Centaur, though I'm happy to hear opinions from other members. *Note: Using more compact faces (e.g., Baskerville) can help reduce costs.

Illustrations: 1-2 traditionally printed art pieces per story. Print method will depend on the artist and artstyle.

Extras: A case to protect the books when they're not being read.

Colors: Blue and green are recurring motifs tied to the sister planets. We could incorporate this color scheme in two ways:

Epigraphs at the beginning of each novella - Blue ink for the first (Saint Croix), green for the second (Saint Anne), and a blue/green blend (cyan, teal, etc.) for the third, which takes place on both planets.

Covers- Individual covers could also echo this color scheme. Blue for volume 1, green for volume 2, and a blend for volume 3.

Art direction: In large parts of the story, there is this feeling of anachronism, where Gothic (French Gothic?) sensibilities are projected into a sci-fi future. Baroque decadence, crumbling structures, and a decaying civilization coexist with robots, clones, and spaceships. The artwork should capture this contrast by focusing more on the scenery and architecture rather than characters.

Textual differences: There is an earlier edition of the novel that differs from current printings. Most changes are minor, but a single word choice at the end of the second novella significantly alters how the book can be interpreted. People who know about these changes tend to prefer the earlier edition (which is sadly out of print) and consider it the definitive text. If we can secure permission for both versions, members who have read the story could vote on which one to use. I personally think we should use the "definitive" one if it's available.

TRUSTEE COMMENTARY:

Copyright considerations: This proposal involves copyrighted material, meaning that there may be a wait before work can commence while the Press secures the necessary permissions. There's no way of knowing how long this process might take. 

Input required by Members if elected: This edition, if elected, would need to be run on a strict budget with concessions made to the efficiencies of mechanical bookmaking. Thus, the Members should not expect a high degree of input over the minutiae. After a bit of honing in the next stage, Members might expect to "pay and forget about it" for a while. 

Craft Summary

Length: 70,000 words, ~280 pages

Format: Duodecimo (~5’’ by 8’’) in three volumes

Art: 3–6 letterpress artworks

Paper: Crane's Lettra (machine made)

Typesetting: Photopolymer

Printing: Automatic letterpress, likely on a Heidelberg cylinder press

Binding: Paper wrappers

Other: A “case,” presumably a slipcase

Estimated Price

$600–$1,000

The proposer has done a wonderful job bringing this project into the realm of feasibility for Consensus Press. Still, a 70,000+ word work in a small edition size would be ambitious. The large variance in the price estimate almost entirely comes down to whether or not a printer can be found who will offer a low rate on lock-ups and impressions. It might be possible to achieve a price at the lower end of the range by hiring a new rather than an established printer. In this way, Consensus Press could also be a vehicle for supporting the perpetuation of the book arts. However, $600 represents a hard floor for this edition. Due to certain non-negotiable costs like polymer platemaking, I can't imagine the price going any lower no matter what concessions the Members are willing to make. 

Hand-sewing, multiple colors, and the three-volume format are secondary cost contributors which, if the Members wanted to concede them, could also help bring the book to the lower end of the estimated price range. 

Estimated Timeline

2+ years

This project has several reasons to think it may be a multi-year wait. First, copyright must clear. Then, artwork must be commissioned. Then, the text and artwork must be set. It isn’t unusual in fine presswork for each of these steps to take 6+ months. We could get lucky, but as every fine press collector knows, delay is to be expected. Once we have a press-ready layout, I’d expect a year to shipment.

EXPANDED PROPOSAL:

I am thrilled to see that this proposal made it all the way through to this stage. Although I have a preliminary vision of the physical book, the strength of this proposal lies primarily in the actual work, which is a rich and incredible story that can be read countless of times.

Reason for my proposal:

I know there are many of us in this group that treasure Russian literature, which is reflected by three of the top five original proposals being Russian works.

Since my quite recent start of book collecting, I have been looking for modern English fine press works of Russian literature. However, apart from isolated instances (e.g., a couple of great books published by NRP), there really does not seem to be much, if anything, out there.

Therefore, I remain of the firm view that this is a great chance to publish a fine press version of an important Russian work, especially a centenary edition of it.

Bulgakov is one of the great Russian authors of satire with his (my favourite book) Master and Margarita, which, alas, would just be too long for CP. However, this shorter novella is interesting for similar reasons, a great book in its own right, and of actual cultural significance within Russian literature. Before setting out the constituent elements of the proposal, I’ll leave this elevator pitch of the book from the Penguin 2025 Classics ed. description of it:

“What would happen if a doctor implanted the pituitary gland and testicles of a man into the body of a stray dog? In Mikhail Bulgakov’s topsy-turvy world, the dog starts to walk on two legs, drink, smoke, thieve, chase women and recite every swear word in Russian. The perfect candidate for a government official, in other words. This rude, riotous send-up of the Soviet Union, banned immediately on publication, is satire red in tooth and claw”.

Illustrations:

The proposal commenced with my initial idea of having either Vladimir Zimakov or Iker Spozio illustrate some of the absurd scenes from the book, e.g.:

1. the transplant operation of Sharik (the protagonist, a stray dog who is being transformed into a human being);

2. the gradual metamorphosis of Sharik into his human form, Sharikov – from losing his fur and standing upright, to speaking crude Russian and ultimately making counter-revolutionary speeches; and

3. Sharikov’s employment at the sub-department for pest control where he kills stray cats for coats and makes protein out of them “for the worker’s credit programme”.

However, recognising the risk of having an author / style that feels derivative of other works, I propose two different approaches for illustrations:

1. Illustrations not following the plot: provided we are happy to leave the plot to the imagination, I think that the idea of having ‘chopped up’ propaganda (proposed by Griffin) would work.

2. Illustrations following the plot: if we do want illustrations to follow the plot, I think that absurdist art à la Grosz (slightly inspired by the Russian Vita Nova editions) would be suitable (see here). To keep the proposal within budget, the illustrations will be pen and ink drawings.

In the latter case, to pay homage to Bulgakov and his criticism of Bolshevism, the adopted style should discard the prevalent aesthetic orthodoxies at the time in Russia.

As frontispiece for the:

1. first approach, I propose a photograph of Bulgakov; whereas

2. second approach, I propose one chopped up propaganda collage.

Translation:

As I understand all translations are under copyright, I propose that we would go for a more modern translation. A lot of English translations (especially older ones) of Russian works are often not great, hence why I sometimes read them either in Russian (if short) or in my native tongue, Swedish.

My main driver behind this project would be to end up with a beautiful book but that is also an enjoyable read. To the extent the book ends up costing more because of the time / money required to obtain a better translation, I think it is worth it.

Luckily, there are several modern translations. Although my plan was to make an honest effort at comparing them, I have since realised my limitations. Therefore, I have reached out to a couple of scholars that may be able to assist. Alas, I have yet to receive a reply. However, absent reply and should this proposal be selected, there appear to be articles readily available for purchase on the translations and I would be happy to pay for them and to distill the findings for the group’s consideration.

Whatever translation we choose (most likely Aplin’s or Bromfield’s), I think that explanatory end notes of historical / cultural references would be useful.

Design, bindings and paper:

To ensure that costs for the project are manageable (and further to Griffin’s advice), I propose that the book be housed in a simple black slipcase and published as an octavo (roughly 6″×9″) using Crane Lettra paper. However, being relatively new to the fine press world, I will not provide any views on typeface.

For bindings, although I know that marbled boards have been popular with various fine letterpress Sci-Fi publications recently, I propose:

1. a Bradel binding (perhaps in grey with the Russian title in Cyrillic (“Собачье сердце”) displayed on the spine); and

2. vein marbled boards predominantly in purple/blue (reflecting the late evening skies of Moscow) and with slight hints of crimson (symbolising the heart/the bloody transplant operation) running through the purple.

I also propose to have the title of the book (“A Dog’s Heart” rather than “Heart of a Dog”) displayed on a grey label with Mikhail Bulgakov’s name underneath. I have tried to find hand marbled papers that would fit the bill. However, as I did not find any, I have generated the below picture, which perhaps is a bit too dark.

See here.

That’s all there is (for now…). My gratitude goes out to the Director, Trustee and members of the press that have engaged with this proposal.

TRUSTEE COMMENTARY:

Copyright considerations: This proposal involves copyrighted material (the translation), meaning that there may be a wait before work can commence while the Press secures the necessary permissions. There's no way of knowing how long this process might take. 

Input required by Members if elected: Several major elements, like art direction and translation, are left up to the Members.

Craft Summary

Length: 35,000 words, ~140 pages

Format: Octavo, roughly 6'' by 9''

Art: Two ideas presented (1. collages made from propaganda posters, 2. drawings à la George Grosz)

Paper: Crane Lettra (machine made)

Typesetting: Not specified, but almost certainly polymer plates

Printing: Not specified, but almost certainly an automatic cylinder press

Binding: Bradel with marbled boards

Estimated Price

$600–$700

This text is ~35,000 words and therefore would prove to be a big "step up" in size from Consensus Press' first edition. Still, such a project is entirely feasible, especially as the proposer is balancing the ambition of the project against a smaller format (6'' by 9'') and (wonderful!) machine-made paper.

The primary cost contributor is the length, with secondary cost contributors in the Bradel binding (one of the more time-intensive standard bindings) and the slipcase. The variance is due to the uncertainty around the artwork. 

Estimated Timeline

2 Years?

This project has several slow elements, like copyright clearance and artwork. Once these are finished I think production would be relatively straightforward.

Artists rarely deliver in under six months. If the main artwork is tipped or sewn in, it could be possible for the artwork to be underway simultaneous to printing.

EXPANDED PROPOSAL: 

Lagerlöf, a highly influential classic of Nordic literature and the first woman Nobel laureate (10th overall, 1909), has been criminally neglected in the Anglosphere, including the Fine Press world. A very multi-faceted author, she wrote in vastly different styles across genres: from the educational fairytale The Wonderful Adventures of Nils written for schoolchildren to Romanticist to Realist adult works; from short stories to novel trilogies; from early precursors of magical realism to explorations of human psychology and descent into madness - sometimes even fusing different genres within a single work. Her masterful storytelling blends folklore, vivid landscapes, and moral and psychological depth - including the proposed poignant tale of redemption, justice, and human resilience.

Starting with one of the most intense and gripping courtroom scenes in literary history, Lagerlöf packs more into this short novella than many longer novels achieve: profound character arcs, ethical dilemmas, and atmospheric prose that lingers long after reading. At around 20,000 words, it's the perfect length to showcase typography, craftsmanship, and premium paper while remaining feasible and affordable.

Following our inaugural ancient classic, publishing this neglected early 20th century gem would highlight CP's versatility in reviving overlooked treasures across eras.

Quarter-bound in coarse natural linen with the title stamped in deep forest green, birch veneer boards. Headbands in alternating green and white. Endpapers in forest green. The book should be about 10-12 inches tall, i.e. close to our edition of Sinuhe, depending on the paper chosen. Textured laid paper with its ribbed chain lines, predominant in the pre-industrial era, would work exceptionally well enhancing the rustic, artisanal feel. I’ve always lamented the disappearance of laid paper from modern Fine Press and see this as a fitting opportunity to revive it. However, understanding that laid papers might be more expensive, if much thicker/superior non-laid papers are available for the same price, I’d be open to it - members could select one of the options by consensus.

As slipcase unit price would be constant regardless of the number of copies ordered at our level of volumes (confirmed with the Trustee), I propose an optional slipcase. Members could elect to purchase the book only in order to save, or the book + slipcase if they wish one.

A frontispiece along with an additional four full-page illustrations in black and white, newly commissioned. Illustrations should be done in realistic detailed style, and could be line drawings or linocuts/woodcuts, which would fit organically with the Realist tale of rural early 20th century Sweden. Subtle chapter tail drawings to enhance immersion.

Typefaces to be suggested by the selected book designer, preferably elegant types that were either created or were popular in the early 1900s. A few typefaces could be proposed by the designer and voted for by the members.

See here for a rough mockup.

TRUSTEE COMMENTARY:

Copyright considerations: This proposal does not include any copyrighted materials. Work can start right away.

Input required by Members if elected: If elected, the Members would have to select which artist the Press should approach about a commission, and perhaps weigh in on paper choice. Otherwise, the proposal is very specific, and none of its specifications raise any concerns for me. Very much a "straight out of the box" proposal. 

Craft Summary

Length: 20,000 words, ~80 pages

Format: Quarto, 10''–12'' tall

Art: Five full-page black and white illustrations, and chapter-end pieces

Paper: Laid mouldmade or alternate of a similar cost

Typesetting: Not specified, presumably photopolymer

Printing: Automatic and manual letterpress are both possible – this edition is right on the boundary where it becomes cost effective to switch from manual to automatic

Binding: Quarter-linen with birch veneer boards

Other: Optional slipcase, likely to add ~$60 for those who opt in

Estimated Price

$500

No single element of this proposal constitutes an inordinately large cost contributor. Rather, there are a dozen modest cost contributors. Trimming back any particular element of the proposer’s vision would likely only yield small savings ($30 here… $40 there…).

Estimated Timeline

1–2 Years

This production would be very straightforward. The printing could be accomplished affordably by either manual or automatic letterpress, and the proposed binding could be executed by any competent bookbinder. 

The estimated timeline variance for the edition comes down to the art. Artists rarely deliver in under six months. If the main artwork is tipped or sewn in, and chapter-end ornaments are removed, it could be possible for the artwork to be underway simultaneous to printing, which could mean that the edition would be finished in as little as a year. 

EXPANDED PROPOSAL:

As mentioned in the first round of proposals, Consensus Press has the opportunity to bring new life to a neglected masterpiece of world literature, a work that deserves fine press treatment, but has never received it yet.  That work: ‘A Hero of Our Time’ by Mikhail Lermontov.

First the why and then the how.

Why should this work receive a fine press treatment?  Lermontov was an incredible writer, mostly known for his poetry and plays.  He was arguably in the same league as Puskin or Gogol, but he died only two years after finishing his first prose work, which is the work being proposed.  Interestingly, his life ended in the same way as the protagonist in his stories.  Some people give much focus to the striking similarities between Pechorin’s character and Lermontov the author, perhaps rightly so as many characters in the book are known to be closely based on people Lermontov met on his own travels.  Through his writing he arguably paints one of the most awe-inspiring depictions of the Caucasus region, both of the land and its people.  While that alone warrants consideration for a lovely fine press treatment, it’s Lermontov’s Byronic anti-hero, the character himself, that makes this story stand apart.

The book is a series of five short stories, intentionally sequenced and not necessarily in chronological order.  Through these, the reader experiences the life of what many call the superfluous man, an intelligent character who is bored, who tests fate and goes through life with cynicism.  Dostoevsky commented that the journey of Pechorin as the superfluous man hit on that contrast of “egoism…and at the same time spiteful disrespect of oneself.”

The book is very good, and Lermontov would’ve surely been a name with better recognition had he not died so young.  This is a book that is long enough that you can sink your teeth in and feel like you got something great out of it, but not so short that it’s gone in a blink.  Think of it as five novellas, give or take, where upon completion you can experience the wholeness of something greater.  Even if it doesn’t get chosen as the next edition for Consensus Press, you should read it.

Now, the how.

This book deserves a fine press treatment and it hasn’t received one yet.  How do we make it happen?

Translation & Layout:

The preferred translation is the Nabokov version.  The translation is still in copyright, but I believe rights should be attainable.  If attaining rights proves to be a major obstacle, other translations are available.  As mentioned above, the book is set out as five stories.  Nabokov also has an introduction that is commonly included.  My suggestion is not to include any foreword or introduction, with the argument being that Pechorin the protagonist and Lermontov the author do enough to steer the reader’s views without the need for help from Nabokov’s input ahead of time.

This story gives us the opportunity to do something special for artwork.  Vittorio Sella is one of the most famous Caucasus mountain photographers, with three expeditions in the late 1800s, and the proposal is to use one of his photographs at the end of each story.  We would be best served if we ensure that we do not include any portraits or human figures when choosing the photographs.  This is the same approach Andrew Hoyem employed for his magnum opus when instructing Barry Moser for ‘Moby Dick’.  In our case, the photographs help the reader connect with the beauty of the area, immersing us in the same way Lermontov experienced this area on his travels.  (Here is a link to some of Vittorio’s photographs.)

In addition, a simple black silhouette head or bust of Lermontov on the title page can be included. This artform was an inexpensive norm at the time the book was written.  That’s a total of 6 art pieces.  The method of implementation of the artwork can be left to the craftspeople and our Trustee.

Format:

I recognize that this would be an ambitious project for Consensus Press.  Therefore, I propose that we pursue whatever format, manner of printing, and materials would make the edition most accessible.  This book doesn’t need to be flashy; it just needs to be elegant.  The story holds its own so it would be ideal for the craftspeople to consider dimensions, materials, and processes that air on the side of simplicity, hopefully coming in below Griffin’s first-stage estimate.  A few art pieces, clean typography, and craftsmanship are all this needs to shine.

It should be letterpress printed, with machine-made paper in octavo to keep costs down.  The dimensions can be hashed out later, but this won’t be a large book, it’ll be something you can cozy up with.  (I was first assigned to read this over winter break in Grade 12 so it forever sits in my heart as a bundle up by the fire and philosophize on life type of book.)   The type should be in a sufficient size to be easily and comfortably read; it should be unfussy and clear: e.g. Caslon or one of the Serif types such as Bodoni or Cormorant, etc.

This book should be a clothbound hardcover, minimalist yet heroical, ideally implementing fine (tight knit) quarter black cloth and Asahi Japanese cloth in aqua iridescent over the boards (see here). This Asahi cloth has a subtle texture and pattern that is both visual and palpable.  Gold (gilt) titling on the black cloth spine would add an elegant touch.

To keep costs down, I suggest that optionally members could purchase a slipcase as an add-on, but that the book would be sold alone as the proposal.  (Perhaps Griffin can speak to how much a few a-la-carte slipcases would cost for those who want one, with the assumption that not all members would want to pay that additional cost.)

TRUSTEE COMMENTARY:

Copyright considerations: This proposal involves copyrighted material (the translation), meaning that there may be a wait before work can commence while the Press secures the necessary permissions. There's no way of knowing how long this process might take. 

Input required by Members if elected: The proposal is simple but comprehensive. It leaves a few key details to Members (e.g. which photographs… which machine-made paper…) but with its selection of a translation, artist, format, and binding, the major decisions are made.

Craft Summary

Length: 60,000 words, ~240 pages

Format: Octavo, ~6’’ by 9’’

Art: Photographs by Vittorio Sella

Paper: Machine made

Typesetting: Photopolymer

Printing: Automatic letterpress, likely using a Heidelberg cylinder press

Binding: Clothbound hardcover using Asahi

Estimated Price

$600–$800

The proposer has done a wonderful job bringing this project into the realm of feasibility for Consensus Press. Still, a 60,000+ word work in a small edition size would be ambitious. The variance in the price estimate almost entirely comes down to whether or not a printer can be found who will offer a low rate on lock-ups and impressions. It might be possible to achieve a price at the lower end of the range by hiring a new rather than an established printer. In this way, Consensus Press could also be a vehicle for supporting the perpetuation of the book arts. However, $600 represents a hard floor for this edition. Due to certain non-negotiable costs like polymer platemaking, I can't imagine the price going any lower no matter what concessions the Members are willing to make. 

Estimated Timeline

1–3 Years

The huge range here is due entirely to the unknowns of getting permission for Vittorio’s photos and Nabokov’s translation. If they cleared immediately, this could be a surprisingly straightforward production the timeline for which would entirely come down to printer availability.

EXPANDED PROPOSAL:

In Praise of Shadows is Tanizaki's classic essay on Japanese aesthetics originally published in 1933. Tanizaki is one of Japan's most important 20th century authors and other works of his have enjoyed fine press treatments. It does look like Tuttle is coming out with a new version next year, but the original translation dates back to 1977, a joint effort by Edward Seidensticker and Thomas Harper.

Details:

There is a clear consensus - and I completely agree - that a Japanese paper (washi) should be a cornerstone element of the project. Richard kindly suggested Iyo Glazed as an option. I am fairly sure that washi, like many Japanese artisan crafts, is one of those things where price can vary quite widely, from reasonable to nosebleed. My personal preference is for a paper that is not too starkly white, but rather more natural in color. Tanizaki writes how Japanese paper “gently envelops the light” and is “quiet and pliant to the touch” (pp9-10 of the paperback edition published by Leete’s Island Books) and I would like to see these characteristics reflected in the paper ultimately chosen.

In terms of the binding, the discussion went in a number of different directions, with suggestions ranging from Japanese stab-binding all the way to a scroll format. Ultimately, my recommendation is more traditionalist in nature, and while I equivocated between a hardcover in slipcase and the softcover/chemise/slipcase option suggested in the discussion thread, I personally have come down on the side of the latter, as I believe that a softcover version (codex-bound, not stab-bound) could bring in another washi element to the overall design, while still providing a simultaneously protective and decorative element in the form of the chemise and slipcase. (I understand that this is likely to add to the cost and that in the final consensus might land on the simpler hardcover-in-slipcase option.) I like the idea of having the book’s title on the spine in both English and Japanese. On the cover of the book itself, the title could be pasted on in the Japanese fashion, in calligraphic Japanese.

Inside the book, overall, I think that monochromaticity is called for, in keeping with the mood and the text. I would love to have a photogravure frontispiece that reflects an element discussed in the text by Tanizaki. A couple that appeal to me in particular are a noh mask or a tokonoma. (The tokonoma is the alcove that is found in traditional tatami rooms and used to display hanging scrolls and other items; is is frequently referred to as ‘alcove’ in the Seidensticker translation (pg. 19, inter alia) although these days if you were to read about Japanese design, I suspect that the word would be left as is.) The title page might be one place for a little bit of extra color, such as the gold that is often seen in lacquerware (see pp22-23); I would envision a calligraphic rendering of the title and author’s name in Japanese.

In terms of the rest of the text, I do not have a specific typeface in mind; I would not envision anything too modern (I would avoid anything sans serif) but by the same token definitely want to avoid a Western typeface that attempts to come across as Japanese-y. One design element that I put out there, which I have seen in a number of prewar publications of Japanese literature, is a thin box around the margins of the text.  (See example here.)

There was a good discussion back and forth about the pros and cons of a bilingual version, and I think that ultimately the increased costs associated with a completely bilingual version probably mitigate against this.

I think there is a case to be made for a small number of additional monochromatic illustrations or design elements within the text. The text is not long enough to be divided into chapters, but there are a number of natural breaks or transitions that would lend themselves to specific illustrative references - the temple roof tile, the bunraku puppet, and so forth. Here is where the services of a professional designer will really come into play, I think.

One little element I thought might be nice to add to the colophon is a red hankō stamp/seal with the name of Consensus Press (I would probably render it as 総意プレス but welcome input from the other Japanese speakers in the group). This again is something which is/was quite often found in Japanese books; seen line #2 here for an example from an actual Tanizaki volume.

I’d like to thank everyone in the discussion forum for their creative input; the conversation went in a number of interesting directions. In the end, I am merely a collector, and do not have the expertise possessed by many of the others in this group; I think ultimately turning this project over to a “master craftsman” who can use some of the elements of this proposal as guideposts for the ultimate design is indeed the way to go.

TRUSTEE COMMENTARY:

Copyright considerations: This proposal involves copyrighted material (the text and the translation), meaning that there may be a wait before work can commence while the Press secures the necessary permissions. There's no way of knowing how long this process might take. 

Input required by Members if elected: If elected, this proposal gives the Members quite a bit of leeway with the details. The proposer makes a number of suggestions which the Members will need to adopt or reject. This proposal would have a pretty significant "honing" process, which could affect pricing and timeline in either direction.

Craft Summary

Length: 15,000 words, ~60 pages

Format: Not specified, likely to be determined by the choice of paper

Art: A frontispiece photogravure, to be determined

Paper: Washi (Japanese paper)

Typesetting: Not specified, presumably photopolymer

Printing: Likely manual proofing press

Binding: Soft cover codex

Enclosure: Slipcase and chemise

Estimated Price

~$500

Except for polymer platemaking, no part of the production of this edition can be mechanized. It will be a nearly entirely hand-crafted edition. The use of washi (which would require manual letterpress), the inclusion of a photogravure, and the inclusion of a two-part enclosure are the primary drivers of the cost. The Members could reduce the cost fairly significantly by conceding any of these elements (maybe ~$80 each?). 

Estimated Timeline

<1 year after copyright clearance

I am very confident that this edition could be made in less than a year after receiving copyright clearance. The photogravure frontispiece would be made simultaneous to printing; the printing would need to be manual and fairly skilled, but it's a straightforward job overall. The only possible hiccup is that the number of printers who regularly print on washi is limited.

EXPANDED PROPOSAL:

The Fortress Unvanquishable, Save for Sacnoth by Lord Dunsany (that is, Edward John Moreton Drax Plunkett, 18th Baron Dunsany), first published in 1908, is a seminal work of heroic fantasy.  The tale opens in a “wood older than record,” where fell dreams descend upon the once-tranquil village of Allathurion, leading its inhabitants to wander “through the cindery plains of Hell” and to “praise Satan openly with their lips.”  As foretold by the Book of Magicians, Gaznak—”the greatest magician among the spaces of the stars” and mounted on a comet returning to Earth once every 230 years—has erected “a vast, invincible fortress . . . [that] may never be vanquished but by the sword Sacnoth.”  Leothric, the son of Allathurion’s lord, embarks on a quest to forge the sword of prophecy and dispel the curse of Gaznak’s dread dreaming.

The Fortress Unvanquishable ascends to heights of lyricism characteristic of Dunsany’s genius as a writer.  With simple but highly evocative language, Dunsany mantles The Fortress Unvaniquishable in the timelessness of myths, faerietales, and dreams.  It is a style that—because it knows when to remain silent as well as when to speak—succeeds in stimulating the imagination rather than subjecting it to a graven image.  A singular impression, sketched out in a few words, suggests an entire world.  It is prose teeming with beauty and life, a style eminently suited to a fantasy of wonder.  

The Influence of Dunsany and The Fortress Unvanquishable

Though largely unknown today, Dunsany’s towering accomplishments-–-a “fortress unvanquishable” all their own—make him foundational to modern fantasy in the anglosphere.  J.R.R. Tolkien has taken inspiration from Dunsany, as have H.P. Lovecraft, Robert E. Howard, Clark Ashton Smith, and (later) Michael Moorcock.  His influence even extends to authors better known for science fiction or for a blend of science and fantasy, namely Arthur Clarke, Jack Vance, and Gene Wolfe.  To my surprise (and outside the anglosphere), Jorges Louis Borges has identified Dunsany’s story Carcassonne as the precursor of Franz Kafka’s The Castle. 

The FortressUnvanquishable itself is widely regarded as the progenitor of the “sword and sorcery” subgenre.  Though the popularity, quality, and vitality of sword and sorcery fantasy has fluctuated in the intervening century, its influence on popular media, as well as its development as a literary genre, persists to this day.  The Fortress Unvanquishable also boasts, rather notably, the first appearance in literature of a sentient sword.  

Prior Fine Press Treatment

The Fortress Unvanquishable has received fine-press treatment only once, in 1910.  This was an extremely limited print run of 30, published by Sheffield at the School of Art Press and bound by William F. Northend.   A scan of No. 6 may be viewed here.  The influence of William Morris and the philosophy of the Arts and Crafts movement is unmistakable.

To the best of my knowledge, no fine press is currently producing (or has plans to produce) an edition of this work.  

Details of The Proposed Edition

The Interior

The textblock of the tale will be a facsimile of the 1910 edition.  A scan of the original will be digitally reset on polymer plates and printed letterpress, using the same typeface and artwork as the original.  The original contains three full-page illustrations bordered lavishly by vines, flowers, and woodland fauna.  Ornamental borders and highly embellished capitals appear throughout.  As with the original, some text will be inked in red.  

See here.

The Consensus Press edition will also, however, include a new introduction, brilliant (I hope) but brief enough not to overshadow the tale itself.  Douglas A. Anderson, who wrote the introduction to Pegana Press’ Lost Tales Vol. 4, seems a strong fit.  Darrell Schweitzer has also written on Dunsany and could be another fine choice.  

Altogether, I am hoping for an edition of around 40 or fewer pages.  All letterpress printing will have a noticeable bite.  The entirety will be printed on handmade, deckle-edged paper.  

The Binding

The binding will largely match the 1910 edition.  However, to ensure fine craftsmanship and durability at a reasonable price, the CP edition will be bound in natural white/cream elephant hide paper, which approximates vellum in texture and appearance.  Tacketed binding, with dark green ribbon, as per the original.  

(See here an example of tacketed binding)

Title and author stamped in gold on the front.  Title and CP logo stamped in gold on the spine.  Headbands handwoven in green and white silk.  

Edition de luxe

For those CP members desirous of even greater artistry, an edition de luxe will be available.  This edition will feature illustrations, borders, and capitals hand-painted in watercolor.  The standard and de luxe editions will otherwise be identical.  

(This may prove an interesting gauge of CP membership’s willingness to pay for de luxe states in general.  Such data could prove useful in framing future proposals.)

Why this, now?

At a time when AI threatens to fundamentally re-engineer the conditions and products of human labor—in ways many fear will prove fundamentally inhuman—an homage to the Arts and Crafts movement (itself a response to technological developments) would be particularly fitting.  It announces to the world—in a very special way—CP’s sense of history and its commitment to carrying on the (eminently human!) practice of private presswork at the highest level.

Furthermore, in an era of hypermodernity—

• when all aspects of life are increasingly technologically enframed; 

• when the disenchantment of culture is so thorough it increasingly extends even to contemporary works of fantasy; and

• when the obsolescence of human practices connecting past and present generations is increasingly regarded as irreversible—

A little book of Dunsanian beauty and wonder, made real in an object of conspicuously human handiwork–a little paean, in fact, to premodernity–would be a welcome viaticum as we all do our best to muddle through.  

Admittedly, 2138 would be a better year to publish this work, but I expect that much of the current CP membership (yours truly included) will have “retired” from the group long before. 

TRUSTEE COMMENTARY:

Copyright considerations: This proposal does not include any copyrighted materials. Work could begin right way.

Input required by Members if elected: Very little outside of the introduction, due to the project being a facsimile edition

Craft Summary

Length: 6,000 words, set length of 40 pages

Format: Roughly6'' by 9''

Art: Artwork and decoration by William F. Northend on nearly every page

Paper: Handmade, likely European

Typesetting: Polymer plates

Printing: Manual proofing press (basically required for this sort of job on handmade paper)

Binding: Limp vellum style using Elephant Hide (a vellum-like paper)

Enclosure: None

Other: An optional de luxe upgrade which would include hand-coloring; an original new introduction (unspecified whether this would be included within the facsimile, or as a separate pamphlet) 

Estimated Price

~$400 for standard, de luxe unknown

Except for polymer platemaking, no part of the production of this edition can be mechanized. It will be a nearly entirely hand-crafted edition, which is the primary driver of its cost. Several of the proposal's "finer points" contribute especially to that cost. Cost could be reduced to perhaps ~$300 if the Members wanted to pull the proposal back a bit (removing the introduction, handwoven headbands, ribbons, multiple precision gold stamping, etc). 

Estimated Timeline

1 Year, maybe less

This proposal is straightforward. A facsimile edition means that most decisions are made. The original introduction is the only unknown. If the introduction is to be included within the facsimile edition, production will have to wait for it to be written. If the introduction is to be included as an accompanying pamphlet, then production can begin at once.

The proposal suggests a standard and de luxe variant, where the de luxe includes hand-coloring throughout. This could certainly be accomplished, though the exact price of the "upgrade" would depend on what artist can be found. If elected, I expect members would order the standard and then given the option later of upgrading. 

Have you read and considered these six proposals in full?

If so, here is your ballot.