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Minds of the Press, Vol. 9

Paul Suntup of Suntup Editions

Suntup Editions is one of the biggest names in the small/fine press community and Paul has created an almost inconceivably well-oiled machine that typically releases three unique states of every monthly title with a level of detail and quality that are hard to believe considering the pace. He has one of the most loyal customer bases and regularly interacts with them through a series of livestreams that have become a standard monthly appointment for many collectors. Most importantly though, he is a lover of the craft and puts immense thought into every aspect of his books, guiding them from start to finish into beautiful pieces of art. He was generous enough to participate in our series and give us an in-depth look inside of Suntup Editions.

Suntup Editions began in 2016, but I would imagine it was ruminating in your mind well before that. When did you begin formulating the idea for Suntup and how did you start making concrete steps to making it a reality? Were there any other important people or inspirations that helped you make the leap into full-time fine press printing?

I wish there were a short answer to this question. I would say that the seed was planted several years before I started publishing. At that time, I was collecting books by one of my favorite poets, James Tate. I discovered that he’d had several titles published in fine editions, so the collector in me went hunting for them. One of the books I purchased was a fine press edition called Hints to Pilgrims. It was published in 1971 by Halty Ferguson, and is the signed numbered edition of 150 copies. The text is printed letterpress on a Fabriano laid paper. I remember opening it up and when I saw the printing and the paper, it really had a significant impact on me. I connected with it in ways I couldn’t fully understand.

The Road by Cormac McCarthy - Lettered Edition

As to when I began formulating the idea for publishing; around the end of 2015 I decided to rebind first edition copies of The Eyes of the Dragon, a novel by Stephen King. I was a member of an online forum for book collectors and King fans, namely I was really attracted to the idea of creating these custom binding designs. I remember going through some mental hurdles to get that project off the ground. I constantly second-guessed myself and talked myself out of it a few times. But ultimately, I went ahead and posted about my plans on the forum. People went nuts for it, and I sold all the copies I was having made. I never expected the sort of response I received, and I was completely overwhelmed and intimidated by it.

I was enjoying the creative process and coming up with unique binding designs, but it was really while I was working on the second rebind, Firestarter, that I realized I wanted more control over the edition. What I mean is, I was rebinding a book that was previously published, therefore I had no control over the type design, the paper, or the printing process. I realized that to really do what I wanted with books, I had to become a publisher. By that time, I had expanded my collection of Tate books and my interest in fine press had evolved. I knew that I wanted to make books like that. Printed letterpress on beautiful paper with skillfully designed typography.

Once I made the decision, not much happened for months. I remember being frustrated, not knowing how to start or what to do. Then one day I was having lunch with the artist David Palladini who I had been working with on that first rebound book, and I came up with the idea of publishing an art portfolio of his illustrations from the King novel. I won’t get into the details, but my first publication was that art portfolio. I spent a year working on it and I learned a lot throughout the process.

The Collector by John Fowles - Lettered Edition

By this time, I was pretty much broke. I had put what money I had into the portfolio, and although it sold a fair number of copies, I was left with a bunch that didn’t sell, and I really needed it to sell out. This was early 2017, and it was around that time when I got the idea to publish an edition of a Stephen King novel.

You asked whether there were other people who helped me make the leap into publishing. Before I started, I had reached out with some questions to two other publishers who were generous with their time, and I am grateful to them. That was David Pascoe and Paul Miller. My first letterpress printer, Norman Clayton was very patient with me, and I am grateful for his time and expertise. Also, I must acknowledge Jerome Smith who owns and runs That space played a big part in not only helping with the launch of the press, but when I originally found it, I wasn’t in the best place in my life and the community really helped carry me through those times. Although I can’t list the names, I am very grateful to the members of that forum who supported the rebound projects in those pre-publishing days, and continued to do so with the art portfolio, and beyond. I will always be grateful to them. And of course, my tireless comrades who were there from the outset, Rebecca Dornsife and Jason Sechrest. Also, I am grateful to Jerry Kelly who really guided me in those early days, and I learned a lot from him and Bradley Hutchinson who printed my first book which kicked things off. Finally, my friend Alec Smith who was my guardian angel.

You grew up in South Africa and had various jobs including opening a comic book store. After these early years, you moved to the United States and had a hard time finding passion and purpose in your work. What was it that helped push you through this period to find inspiration again? Was it the dream of Suntup specifically that gave you the drive to overcome this or simply the natural evolution of your growth and finding what you were actually passionate about?

It’s the latter for sure. Suntup was the product of 20+ years of failing forward, making mistakes and learning lessons. I can’t say what pushed me through those years to eventually arrive here, other than the constant desire to reach for the stars.

The Lottery by Shirley Jackson - Interior of Numbered Edition

You’re right that I spent a lot of years trying to find something which inspired me and that I truly enjoyed doing. After selling the comic store, and moving to California, nothing ever came close to the experience I had running the store. I worked at a company as an employee for 11 years, tried several business opportunities during and after that, then started and ran a fairly successful web design and development business which ultimately went out of business. Each time I thought I’d found what I was looking for, but that was never the case. Each of those experiences were steps along the way, leading me to where I am now, and I learned a lot of great lessons from all of those experiences.

I discovered this quote from Nietzsche which goes like this, “You must be ready to burn yourself in your own flame; how could you rise anew if you have not first become ashes.” The last part of that quote really gets me because it’s my story. I won’t go into the details, but Suntup was born out of the ashes, and it found me and saved me, and I could not have done any of it without first going through that process.

In the past, you have referenced Suntup Editions being rooted in the fine press movement, started by William Morris and his imprint Kelmscott Press, and how you were seeking to recapture the handmade craftsmanship of early printed books. What do you think it is that draws followers of the modern fine press movement to try and recapture this lost art in our tech-driven day and age?

Going back to when I first experienced that Tate book, I felt a deep connection to the way it was made. The letterpress printing, the typography, the paper and binding. Years later when I decided to become a publisher, there was no question as to the type of books I wanted to make. I knew that I wanted to print the books letterpress on beautiful paper and make sure they were expertly designed.

I read as much as I could about fine press, and the history of the movement. That reading continues to this day. Everything I learned resonated with me. The philosophies and principles spoke to me, and I connected not only with the physical attributes of a fine edition, but also with the motivations which were driving the early pioneers.

War of the World by H.G. Wells - Lettered Edition

I’ve ruminated for years on what it is that draws us toward books, and in particular, fine press. You look at Morris and others like Emery Walker and Cobden-Sanderson (and many more in the history of fine bookmaking too numerous to mention). Morris wanted to bring back the beauty found in medieval manuscripts and early printed books. That’s where he operated out of. He was totally dissatisfied with the abundance of poorly made, mass-produced books of the time, so he devoted the rest of his life to recapturing the beauty of well-made books. He focused on the details such as typeface and typographic design, as well as eliminating cheap ink and poor-quality paper. No matter where you stand regarding the Kelmscott style, Morris ushered in a book design renaissance, and created some of the most beautiful books in the history of fine bookmaking.

William S. Peterson, one of the greatest authorities of the Kelmscott Press writes that lending order to the printed page is, for Morris, ultimately one way of lending meaning to human existence.

I feel this concept plays a large part in why we are drawn to these books. They speak to an ancient part of us that longs for a simpler, purer time in our history when the art and craft of the book mattered. It’s easy to feel that you are drowning in technology today, with all of the rapid advances that have taken place over the past 25 years, and which continue to march on at incredible speed. The way I see it, these books ground us. They are so utterly real and true and honest. We look at them, experience them and we feel safe and nurtured and we lose ourselves in the paper and the printing, and the stories. It makes me think of a line from the Neruda poem; “I love you without knowing how, or when, or from where.”

Blood Meridian by Cormac McCarthy - Interior of Lettered Edition

One of the things I’ve been most impressed by is the typographic detail and interior design of books like Blood Meridian numbered (my first Suntup), especially when housed in such a gorgeous binding. Your first traditional published release was a beautifully executed version of Misery by Stephen King, and you were even able to obtain the elusive Stephen King signature as the cherry on top. Could you tell us a little bit more about the process that was involved to secure this? How did the final product resonate with your earliest visions of the piece and why did you choose this work specifically?

I had to silence the negative voices in my head telling me that this would never happen. That it’s an impossible dream. Why would Stephen King, one of the most famous and legendary authors in the world, allow a nobody like me to publish an edition of his novel when I had never published a book in my life? And also agree to sign it. What a preposterous idea. But it’s the pursuit of your preposterous ideas which aid in moving you closer to your dreams. I spent months talking myself out of it. Coming up with all the reasons it would never happen. But one day, something changed in my state of being which I cannot explain, but I know that it had to do with the last part of that Nietzsche quote.

Once I made the decision, nothing would stop me. I put everything I had into it and took massive action. I worked on myself as well because for some time I had been in a bad place physically and mentally. I remember running on the treadmill a lot and I would recite a series of affirmations every day, throughout the day. “I approve of myself”, “I love and accept myself exactly as I am”, “I let go of the past and I am free”, things like that. I considered myself a total failure, and had for years. When I’d say those affirmations, it felt like I was lying to myself. But that’s how it goes. You keep saying it until you believe it, and that changes your state which aids in your transformation.

Misery by Stephen King - Lettered Edition

I also burned the ships financially and there was no escape plan. I depleted my checking and savings accounts, maxed out credit cards, took out several high-interest loans, and withdrew all the money I had in my retirement account. I even had to sell some books and comics from my collection so that I could buy the plane ticket to get to some meetings related to the project and have spending money for necessities. But none of this mattered because I had a big dream, and for the first time in my life, I was going to follow it despite the obstacles.

Then on December 12, 2017, I received the call letting me know that the deal was approved. If I wasn’t already sitting down, I might have dropped to the ground.

You asked why that title? I have a vague memory of running a poll asking which book people would like to see published as a limited edition, but it’s also the title that came to me when I was considering it. And yes, I was very pleased with the end result of the published editions.

Misery Lettered Interior

That’s an incredible story of perseverance and grit, now seeing all that you have produced since, I think the Suntup community is very happy you followed through! You are also personally a Stephen King collector and his books have meant a lot to you throughout your life. What are your top three Stephen King works and your most prized piece in your collection?

I don’t really collect Stephen King books anymore or do much collecting in general. I have a collection of books about books, and in particular fine press, and I enjoy those a lot. But yes, his books played a key role in my life. Heck, Misery changed my life. I mean, Changed. My. Life. This affinity with the author began in 1987 and came full circle in 2018 when I published Misery.

My top three? It’s hard to choose, but what comes to mind right now are 11/22/63, The Dead Zone and Roadwork. Can I choose another three on par with those? I was really taken by Blaze, and of course The Eyes of the Dragon & Misery. I enjoyed The Dark Tower novels immensely.

Most prized pieces, I’d say my matching set of The Dark Tower novels.

I couldn’t agree more, I am a huge Dark Tower fan as well. Your title selection is fairly hard to predict as you regularly rotate between science fiction, horror, classic fiction and contemporary works. Other than the simple logistics of acquiring rights and the schedules of your collaborators, are there any other factors that govern the cadence of different genres and titles?

A lot of the titles we have published were chosen by our customers through the surveys. Some I selected myself because I loved the books, and others seemed like an obvious choice due to popularity or place in popular culture or literature. What I publish does not always fit into a specific genre or family of genres. I’m not pigeonholed into anything specific, but I suppose because of my roots, there is a pull toward horror, science fiction and fantasy.

Charlie and the Chocolate Factory by Roald Dahl - Roman Numeral Edition

There are few imprints out there that can claim as relentless of a release pace, while still keeping quality very high (especially when factoring in the work that goes into a typical lettered or numbered edition). Considering the fact that with monthly releases you will have easily more than twenty projects in the works at any given time, how do you keep everything separated and track progress for all releases simultaneously? What does your team look like behind the scenes that keeps this machine running smoothly?

Well, this is where the path has taken me. At first, it was 2-4 titles a year, but when the market evolved and grew, and we started to experience great demand for our editions, I felt that I had to rise to the occasion. It’s an immense amount of work. I work 7 days a week. I do take time off some weekends to visit my family.

There are publishers out there in this space who put out more titles than we do in a year, but the fact that we have up to three editions per title, all with different production elements, different binding designs, and all made with the principles of fine press in mind, this makes it that much more complex. Especially with the attention we put toward the “art of the book.”

At first, I was only really interested in Numbered- and Lettered-type editions. Limited runs which would allow me to use mold made or handmade paper, letterpress printing, etc. But we began to get many requests for a lower-priced option, so we got into the AE/Classic book. Although most of these are not printed letterpress, the key elements that were important to Morris are present. Careful selection of type and typographic design, print quality, premium papers, etc.

The Godfather by Mario Puzo - Title Page of Lettered Edition

Something that helped is that I put systems in place soon after getting started. If you’re a small team or even a one-person show, you have to get creative when it comes to leverage. You can’t just hire someone for every operational aspect of running the business. That will eat up your profits. And no matter what, you’re going to wear many hats and work really long hours.

As to the team, it’s still pretty small. It’s basically three of us who keep the wheels turning on a day-to-day basis. There is myself, and I wear many hats; Jason who does many things but mostly production management, and Rebecca who also does many things but mostly heads up the whole art space, managing artists, general art direction, etc. There’s also an extended team who are more part-time and whose contribution is no less valuable. Simon Mason, software engineer par excellence and Tim Harding, researcher extraordinaire and editor on some books. I have an assistant (my great-niece) who comes in 3 days a week to help me with the administrative burden. You would be surprised at the mountain of paperwork that flows through here. And although I’m hands-on when it comes to fulfillment, I do have some folks who assist with that.

I imagined the team was much bigger than that, it’s unbelievable the output you have with such a small team. Some of the smaller fine presses use the same bookbinders and printers for almost every release they come out with, but you have so many projects in the works that you are forced to collaborate with a lot of different shops simultaneously and work alongside different binders and printers. How do you decide what titles and designs are best fits for particular collaborators? How does this compare to your process for selecting artists?

You’re right, we really have to spread the workload. We have multiple bookbinders, printers and designers working on our books at any given time. Right now, there are seven letterpress printers who are involved with printing books for us, some with multiple titles.

Slaughterhouse-five by Kurt Vonnegut Jr. - Numbered Edition

Aside from the logistics and practicalities of making these books, what I really like about collaborating with multiple artisans is that I get to spotlight and support these talented craftspeople who work tirelessly in the book arts and keep the craft alive. They have my respect and support.

When it comes to bookbinders, for the Artist/Classic editions, it has been a challenge finding machine binders for these larger print-run editions in the USA who meet my standard of quality, but thankfully we have our binders now through trial and error, and they have been working out well. When it comes to the handbound volumes and looking for a binder for a specific title, I will look at their past work and in particular their style and capabilities. From that, I can make the determination if they are a good fit for the aesthetic and/or structure we’re going for.

As for artists, it’s a little more complex than you would think but fortunately there is so much great talent out there. We look at the artist’s portfolio and consider their style, etc.

A common refrain I have heard among Suntup followers is that they have actually discovered many of their favorite new works through your releases. Now that you have a more established following do you feel more confident releasing titles that may not have that initial author or title buzz, but you know are quality works that should have broader exposure? How do you decide what these titles will be and how often to release them?

I’ve never let the level of buzz or popularity be the only factor in determining whether I publish a book or not. In the early years, I didn’t think twice about publishing something like The World Doesn’t End by Charles Simic, knowing full well that it was so far outside the tastes of our target audience. But things are a little different now, and I have to be more selective. The market has changed from the blockbuster years of 2020 and 2021. That doesn’t mean I won’t continue to push the envelope and announce a title which no one would have expected. There’s one that comes to mind at the moment, which I feel is an important story and it screams out for a fine edition. So, I’m doing it, even with the risk of it not being fully embraced. I’m actually excited about this one because it allows me total freedom in terms of paper, printing process, method of illustration, etc., given that it’s a very short work.

Imajica by Clive Barker - Interior of Numbered Edition

In addition, during your monthly video updates, you will often say that a particular title “deserves” or “doesn’t call for” a fine press or letterpress treatment. In your mind, what factors play into this decision? Is it size, content, genre, prestige or other factors that determine the quality of materials and printing process?

That’s a good question, and a complex one given the way it’s worded because it begs the question, what is fine press? This topic is open for much debate, and something I feel I should get out of the way before I can answer the question more directly.

I don’t believe that I ever said a title doesn’t call for the “fine press” treatment. But yes, I would have said some editions don’t call for letterpress printing. I can understand how these two terms can fuse to become one concept, but in the context of your question, we should separate “letterpress treatment” from “fine press”.

Depending on who you ask, you would likely get multiple definitions for fine press ranging from the very broad to the very specific. At a basic level, the way I see it is that I cannot write off an edition as not being a “fine press” book simply because it is not printed letterpress. If we go back to the source; William Morris, and in particular Emery Walker who found in fifteenth- and sixteenth-century printing an answer to the question which had been weighing on Morris for years. What was wrong with the books of their time? He decided that the failure was in improper margin proportions, in excessive space between lines and words, in poor type design, and in the use of cheap ink and poor-quality paper. It was primarily about the typography and the arrangement of type on the page, and of course the paper and ink. It was not about the printing process. Sure, the print technology of the day was letterpress, but our dominant print technology today is offset lithography or digital, to which one can apply the same core principles of type design.

Replay by Ken Grimwood - Lettered Edition

If the only qualifier for a fine press book is whether it’s printed letterpress or not, then that would completely negate the importance which Morris and others placed on those elements which played a crucial role in producing a book which had what he referred to as “a definite claim to beauty.”

He went so far as to say that a “machine-made book could be a work of art if the type was rightly designed, and due attention given to its arrangement on the page.”

My point is that there is more to a fine press book than the printing process alone. In our case, we go to great lengths and great expense to make sure we’re hitting the important aspects of what the founders of the movement considered to be fundamental principles of good book design. This is evidenced by the caliber of fine press designers who work on our editions. We care about the reading experience, we print only on premium papers, we use the finest bookbinding materials, and when it comes to offset, we use fine art and museum printers.

The concept of fine press can be very personal to those who appreciate the craft of fine bookmaking, and it can mean different things to different people. I could spend more time peeling away the layers because there is more to be said on this topic, but ultimately, I feel that we have to acknowledge that it is possible to make beautiful books by other, more recent technologies.

Having said this, there is no denying the great beauty in fine letterpress printing on handmade or mold made papers. That is what spoke to me when I discovered the Tate book, and those were the books I wanted to make, and I do feel that it elevates the experience. But I do not see it as the last and only word on a fine edition.

The Island of Doctor Moreau by H.G. Wells - Interior of Lettered Edition

So, what I’m saying is that all of our books are given the fine press treatment, but not all are printed letterpress. It’s the spirit of fine press, the core principles and philosophies that guide our editions, no matter the printing process.

To answer your question as to why some books are printed letterpress and others not, it comes down to several factors, some of which you mentioned. Page count is one reason. For better or worse, we publish a fair number of lengthy novels. These are very challenging. On the one hand, I’d love to print them all letterpress, but on the other, it would become far too costly and burdensome. Therefore, page count is definitely a factor, and a good reason to print offset.

Another consideration is the fact that we currently announce twelve titles a year, mostly in three editions each. To print all of those letterpress is not feasible. I mentioned earlier that we are currently working with no less than seven letterpress printers who are all printing books for us. We publish a lot of letterpress editions, but we cannot publish 36 letterpress editions a year.

Price is another factor. Our letterpress printed books cost more to produce, and I would not want to bombard our customers with higher-priced editions every month. And of course, the title can play a part too, as well as the workload of our printers at any given time.

Rights structures have become a contentious issue among the community of fine press collectors. There are so many different rights systems and there seems to be increasingly complicated nuances introduced with each new press. How did you decide on your own system and have you felt like it has functioned to produce the outcomes you set out to achieve initially when developing it?

It's really not as considered as you might think. In fact, I did not set out to achieve anything with the rights system. I didn’t even know what a “rights system” was! All I was interested in was making books. The rights system was born out of requests from customers who wanted to be guaranteed matching numbers. So, I gave previous owners an opportunity to purchase the next book, and it evolved from there, and we adapted to it.

The Tell-Tale Heart by Edgar Allan Poe - Interior

The rights system went mostly unnoticed until our books started to sell out almost instantly. In the early days, we struggled to sell out of some Numbered editions. But all of a sudden, demand became far greater than supply. There was no way I could have predicted the demand that hit us like a tidal wave in 2020, and which continued throughout most of 2021. I could not increase print runs on a dime because we work on these books years in advance. So, we managed it as best we could, and took certain steps like imposing order limits, and even going back on some titles which were still at a 250 limitation, and re-negotiating to increase those to 350 if it wasn’t too late.

The market has cooled now, and if someone wants a Numbered book, it’s generally quite easy to buy one. Lettered, less so because there are so few of them. Ultimately, regardless of whether there is a subscription system, or a rights system, or something else, when you are dealing with highly limited editions with a high level of desirability, the demand will always exceed supply. When that happens, people will miss out, and it becomes impossible to make everyone happy.

Different press owners seem to have varying levels of engagement with their followers. You are certainly on the more engaged end of the spectrum and have even created a space once a month when you stream live with Suntup collectors. Why is this type of connection and level of transparency important to you? Was this something you always wanted to do or a decision made in honor of those who have faithfully purchased your books?

I’m not sure actually. At the beginning, I don’t believe it was something I wanted to do, or was even part of the plan. It just happened this way and evolved. If you would have told me 7 years ago that I would be doing live broadcasts, I would say you’re crazy. The years leading up to Suntup Editions were very solitary for me. I was very reserved and introverted (still am but perhaps not as much) and would never dream of broadcasting on video.

Now it has become a tradition, and I really like connecting with the community in that way. Working on these books, there are frustrations that I deal with almost daily. It goes with the territory though. So, I look forward to the broadcasts because it allows me to take a step back, and remind myself why I am doing this.

Replay by Ken Grimwood - Roman Numeral Edition

It’s not only for the love of the game, the love of making fine editions; it’s really about the people. I like to connect with the community. From the kids who would come into the comic store in the early 90s, to the community of Suntup fans today, they are my kind of people. You know what I mean? I know them because I am them. We are book lovers. We obsess over which way to place the slipcase on the shelf, or which order they should appear. We share pictures of our bookshelves, and we are rattled by imperfections; we love to read and collect books. My people. And when I see the pleasure these editions bring to them, well that is the overarching reason for doing this.

I know I really appreciate the update streams and it seems like many other people do as well! Putting aside right acquisition and logistical issues, are there any authors or titles that would be dream releases for you and the team at Suntup Editions and what are the pieces of literature that have made the biggest impact on your life?

Well, it’s no secret that I want to publish an edition of The Pillars of the Earth by Ken Follett. I still believe that someday I will. But my vision for it would make it a very costly production. Years ago, I had a few sample pages designed and printed letterpress on handmade paper and it’s really something.

Aside from that, there are no specific titles or authors I can think of right now. There are just so many books that I want to publish. As for literature which had a big impact on my life, it’s hard to say. I mean, poetry had the biggest impact on me. I think when others were reading literature, I was being carried away by poetry. When it comes to literature though, I like to be entertained and I don’t want to have to think too much. But I also like to be astonished by the work and the use of language. Cormac McCarthy comes to mind. He can write a few short lines which take your breath away. Then you read them over again, and each time they hit you even harder.

The Exorcist William Peter Blatty - Roman Numeral Edition

Q: In the past you have hidden puzzles within your productions that you leave for astute and observant collectors to find, attaching valuable prizes to the first person who teases out the solution. What made you want to add this element into your productions and are there any currently going on that have not been discovered yet?

I’m not sure how or why this sort of thing started. I’m personally not much into puzzles and brainteasers, mostly because I’m completely useless with things like that. But there are some amazingly astute people out there who figure things out. Maybe it started with the first five books where I had the idea to spell out my father’s name in each of them, one letter at a time.

It's also fun, and I tend to like doing things for our customers which are fun. I think what’s at the heart of it is the desire to create positive distractions from the harsh realities of life. Anything I can do to create some excitement in someone’s day is something that matters to me. It’s things like this which can lift you up and put you in a positive state, because for me one of the most important things we can do in our lives is to lift people up, as opposed to bringing them down. And you see a lot of that (the bringing down part), especially on social media. There is no currency in that, and it reflects poorly on the person dishing it out, let alone the harm it could do to those on the receiving end.

In the first few years, I did these teaser videos to create excitement. It wasn’t really about selling books, but rather more about creating an atmosphere which would assist in taking you away from something that might be weighing on you, and bringing you around to a difference place. As we became busier and the production schedule increased, I found that I had less time to make these videos; or even to create new “puzzles”. I’ve been thinking about this a lot over the past few months, and I’ve wanted to do something new, but I struggle to find time for it. So, to answer that part of your question, no there is nothing out there currently which has not been discovered.

Animal Farm by George Orwell - Artist Edition

If there was one word or phrase that came to people’s minds when they think of Suntup Editions, what would you hope that it would be?


That’s wonderful. A few months back you announced a very exciting collaboration with Neil Gaiman on American Gods. There are also some other titles that have been discussed like The Hellbound Heart, but is there anything coming further out on the horizon that you would like to share?

Well, for better or worse, you know our model. We never reveal titles either by email, phone or interview. Well, I say never, but that isn’t quite right, is it? I let out that we’ll be doing The Hellbound Heart on one of the broadcasts, and I even slipped about Poe. But in appreciation for you taking the time to ask me these questions, and for those of you who have labored through it all…I will reveal a title that is in the pipeline. We are working on The Last Unicorn by Peter S. Beagle with art by Tom Kidd. It’s a letterpress edition and incorporates some hand calligraphy with the text.

The Time Machine by H.G. Wells - Roman Numeral Version

This interview was done in a series of communications back and forth and we want to thank Paul for his willingness to be a part of this series and his dedication to the process. If you want to stay up to date on what Paul is up to with Suntup Editions then you can follow them at and sign up for their mailing list to get updates on production, future projects and information on artists and binders they work with. You can also follow them on Facebook to stay up with the monthly releases coming from this groundbreaking press.

Interview by: Zach Harney a contributor to the Collectible Book Vault

Photography by: Yegor Malinovskii

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Zach Harney
Zach Harney
Apr 21, 2023

The winners from the website and Instagram have been chosen and they are the following:

From CBV Website:

Aaron Bainbridge - Schindler's Ark

Skylar Randall - Zombie

From Instagram:

@cprete9 - The Outsiders

@messages_in_the_attic__ - Bonus Gift

Congrats to all the winners, we will be in touch to get addresses to ship these out. Thank you everyone for entering, Paul said it was really encouraging to read all the kind comments!


Paul’s passion to extract the maximum best out of each book release is inspiring!🔥


What a great interview into the heart of Paul Suntup. Thanks for sharing the journey...looking forward to more beautiful Suntup Editions!


Excellent interview! Well done! Awesome to hear that The Last Unicorn is in the pipeline!

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