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When I asked Taschen’s PR person for a review copy of the hardback edition of Mick Rock: The Rise of David Bowie, 1972-1973 (after sheepishly asking in vein for the $800 Limited Edition), she warned me that it was an amazingly impressive object, even by Taschen standards. Don’t laugh, but this intimidated me to the point where, after receiving the book, I waited over a week to look inside. I had damn-near passed out while first perusing the uncompromising art publisher’s recent Blake book.
Mick Rock: The Rise of David Bowie, 1972-1973 is about as woozying of a tome as you’re ever going to stick your nose into. And this “regular” edition, available at Amazon for the remainder-bin price of under $45, is anything but regular. Every single aspect of this book is elevated. The cover sports a lenticular panel which contains five iconic Mick Rock images of everyone’s favorite glam commander. This could have gone horribly wrong, too gimmicky or tacky, but this technology seems to have been invented to flash the ever-changing personas of David Bowie at the height of his (and Rock’s) artistic powers. There is no more perfect cover for this book.
And that’s just the cover. I was right to psych myself up. The first time I went through it, I got about 20 pages in and had to stop. The book is a sensual flood of uncompromising print materials, meticulous photographic reproductions, and state-of-the-art printing and binding. The smell of the this book is also worth noting (if you’re into that sort of thing). It’s intoxicating.
The content of Mick Rock: The Rise of David Bowie, 1972-1973 is almost entirely photographs. There is an essay on Bowie’s rise in the early ‘70s and an interview with Mick Rock on working with Bowie, but otherwise, the majority of the 300 outsized pages are devoted to full-bleed photos, often paired with a Bowie quote, lyric, or statement about him. Nearly half of the images are rare or never before seen.
Bowie once said that Mick Rock could “see him.” I found the clarity of that vision, captured here in such a high-energy, high-definition presentation, to be literally breathtaking. You really do get the feeling that you are seeing a very rare and intimate relationship between an artist and his muse, chronicled by perhaps the one person who could see actually see and understand that relationship as it was unfolding. – Gareth Branwyn
HORRORSTÖR – A TWIST ON A HAUNTED HOUSE STORY SET IN A MODERN IKEA-LIKE MEGASTORE
Horrorstör by Grady Hendrix Quirk Books 2014, 240 pages, 7.4 x 8.8 x 0.6 inches (softcover)
Imagine a store much like Ikea, but not quite up to Ikea’s standards. In the book Horrorstör, Orsk is a shabby copy of the Scandinavian warehouse we all know, and maybe even love, right down to the incomprehensible product names (Frȧnjk, for example) and a Bright and Shining Path that guides shoppers through the showroom floor maze. But something about Orsk is different. And very, very wrong.
Amy works at the Orsk in Cleveland, Ohio. Caught in a spiral of student debt and unable to support herself, she moves into her mom’s trailer and wonders if she’ll ever dig herself out of retail. That’s when things change. Resigned to working at Orsk for the rest of their lives, Amy and her co-workers arrive every morning to find broken wardrobes, shattered glassware and vandalized sofas. Convinced someone is hiding out in the store and up to no good, they agree to spend the night in the store with their manager to unravel the mystery. Little do they know that tonight is their final shift.
Horrorstör is a clever twist on a traditional haunted house story that takes place in a modern consumerist setting. The symbolism and criticism of consumer culture and the nature of work are there if you look for them, but it’s light, and pretty funny, and doesn’t get in the way of the story. The catalog-style furniture pages in Horrorstör — complete with enthusiastic but meaningless descriptions – grow increasingly dark as the story, and Amy’s situation, become dire. Consider this catalog page for a chair:
“Boasting several advantages over traditional forms of restraint, BODAVEST confines the penitent and opposes the agitated movement of blood toward the brain, forcing the subject into a state of total immobility, conducive to self-reflection and free of stressful outside stimuli.”
The book also includes humorously grim versions of Orsk employee evaluations, order forms, and pages from the Orsk Leadership Handbook. They really add to the enjoyment of the story. I found myself eagerly looking forward to them, trying to decipher which twist in the story they alluded to. Surprisingly, the last pages of the book took the story from hilariously gruesome to “Oh, heck yes!” in the last few paragraphs. I won’t ruin it for you, but they left me wanting to read more stories set in the wild and outrageous world of Orsk.
“Orsk. It’s not just a job. It’s the rest of your life.” – Keith Monaghan
Books That Belong On Paper first appeared on the web as Wink Books and was edited by Carla Sinclair.Sign up here to get the issues a week early in your inbox.
