#History of Steampunk

[steampunktendencies]

Old Pencil Sharpener in Action

[seashorepics]

The Origin and History of Steampunk: Its Influence on TV, Films, Music, and Modern Culture

Steampunk, a subgenre of science fiction, is distinguished by its retro-futuristic aesthetic that merges the Victorian era’s design and technological innovations with speculative technological advances. The movement, however, extends beyond just a literary genre—it has evolved into an all-encompassing artistic and cultural phenomenon. This essay delves into the origins of steampunk, its…

[macleod]

William Thomson's Tide Predicting Machine, 1872 (London)

Tide-predicting machine designed by William Thomson (later Lord Kelvin), built by A. Légé & Co., 20 Cross Street, Hatton Gardens, London, 1872. The machine is a mechanical analogue computer which traces the tidal curve for a given location, by combining ten astronomical components. It is the first working machine of Thomson’s design, based on his application of harmonic analysis to tidal phenomena.

Each of the ten components has a shaft with an overhead crank which carries a pulley pivoted on a parallel axis adjustable for the range applying to that place. The shafts are geared together so that their periods are broadly proportional to the periods of the tidal constituents. On each shaft the crank can be turned and clamped in any position corresponding to the epoch of tide required. The machine was able to draw the tidal curves of one harbour for one year in about four hours.

[alethianightsong]

Bioshock: Why Individualism is a shitty philosophy to build society on

Bioshock 2: Why Collectivism is a shitty philosophy to build society on

Bioshock Infinite: Why American Exceptionalism is a shitty philosophy to build society on.

[moodboard-d]

[endlesslytired]

Penacony.

more from the post looooop:

[mostlysignssomeportents]

Brian Merchant’s “Blood In the Machine”

Tomorrow (September 27), I'll be at Chevalier's Books in Los Angeles with Brian Merchant for a joint launch for my new book The Internet Con and his new book, Blood in the Machine. On October 2, I'll be in Boise to host an event with VE Schwab.

In Blood In the Machine, Brian Merchant delivers the definitive history of the Luddites, and the clearest analysis of the automator's playbook, where "entrepreneurs'" lawless extraction from workers is called "innovation" and "inevitable":

https://www.littlebrown.com/titles/brian-merchant/blood-in-the-machine/9780316487740/

History is written by the winners, and so you probably think of the Luddites as brainless, terrified, thick-fingered vandals who smashed machines and burned factories because they didn't understand them. Today, "Luddite" is a slur that means "technophobe" – but that's neither fair, nor accurate.

Luddism has been steadily creeping into pro-labor technological criticism, as workers and technology critics reclaim the term and its history, which is a rich and powerful tale of greed versus solidarity, slavery versus freedom.

The true tale of the Luddites starts with workers demanding that the laws be upheld. When factory owners began to buy automation systems for textile production, they did so in violation of laws that required collaboration with existing craft guilds – laws designed to ensure that automation was phased in gradually, with accommodations for displaced workers. These laws also protected the public, with the guilds evaluating the quality of cloth produced on the machine, acting as a proxy for buyers who might otherwise be tricked into buying inferior goods.

Factory owners flouted these laws. Though the machines made cloth that was less durable and of inferior weave, they sold it to consumers as though it were as good as the guild-made textiles. Factory owners made quiet deals with orphanages to send them very young children who were enslaved to work in their factories, where they were routinely maimed and killed by the new machines. Children who balked at the long hours or attempted escape were viciously beaten (the memoir of one former child slave became a bestseller and inspired Oliver Twist).

The craft guilds begged Parliament to act. They sent delegations, wrote petitions, even got Members of Parliament to draft legislation ordering enforcement of existing laws. Instead, Parliament passed laws criminalizing labor organizing.

The stakes were high. Economic malaise and war had driven up the price of life's essentials. Workers displaced by illegal machines faced starvation – as did their children. Communities were shattered. Workers who had apprenticed for years found themselves graduating into a market that had no jobs for them.

This is the context in which the Luddite uprisings began. Secret cells of workers, working with discipline and tight organization, warned factory owners to uphold the law. They sent letters and posted handbills in which they styled themselves as the army of "King Ludd" or "General Ludd" – Ned Ludd being a mythical figure who had fought back against an abusive boss.

When factory owners ignored these warnings, the Luddites smashed their machines, breaking into factories or intercepting machines en route from the blacksmith shops where they'd been created. They won key victories, with many factory owners backing off from automation plans, but the owners were deep-pocketed and determined.

The ruling Tories had no sympathy for the workers and no interest in upholding the law or punishing the factory owners for violating it. Instead, they dispatched troops to the factory towns, escalating the use of force until England's industrial centers were occupied by literal armies of soldiers. Soldiers who balked at turning their guns on Luddites were publicly flogged to death.

I got very interested in the Luddites in late 2021, when it became clear that everything I thought I knew about the Luddites was wrong. The Luddites weren't anti-technology – rather, they were doing the same thing a science fiction writer does: asking not just what a new technology does, but also who it does it for and who it does it to:

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

Unsurprisingly, ever since I started publishing on this subject, I've run into people who have no sympathy for the Luddite cause and who slide into my replies to replicate the 19th Century automation debate. One such person accused the Luddites of using "state violence" to suppress progress.

You couldn't ask for a more perfect example of how the history of the Luddites has been forgotten and replaced with a deliberately misleading account. The "state violence" of the Luddite uprising was entirely on one side. Parliament, under the lackadaisical leadership of "Mad King George," imposed the death penalty on the Luddites. It wasn't just machine-breaking that became a capital crime – "oath taking" (swearing loyalty to the Luddites) also carried the death penalties.

As the Luddites fought on against increasingly well-armed factory owners (one owner bought a cannon to use on workers who threatened his machines), they were subjected to spectacular acts of true state violence. Occupying soldiers rounded up Luddites and suspected Luddites and staged public mass executions, hanging them by the dozen, creating scores widows and fatherless children.

The sf writer Steven Brust says that the test to tell whether someone is on the right or the left is simple: ask whether property rights are more important than human rights. If the person says "property rights are human rights," they are on the right.

The state response to the Luddites crisply illustrates this distinction. The Luddites wanted an orderly and lawful transition to automation, one that brought workers along and created shared prosperity and quality goods. The craft guilds took pride in their products, and saw themselves as guardians of their industry. They were accustomed to enjoying a high degree of bargaining power and autonomy, working from small craft workshops in their homes, which allowed them to set their own work pace, eat with their families, and enjoy modest amounts of leisure.

The factory owners' cause wasn't just increased production – it was increased power. They wanted a workforce that would dance to their tune, work longer hours for less pay. They wanted unilateral control over which products they made and what corners they cut in making those products. They wanted to enrich themselves, even if that meant that thousands starved and their factory floors ran red with the blood of dismembered children.

The Luddites destroyed machines. The factory owners killed Luddites, shooting them at the factory gates, or rounding them up for mass executions. Parliament deputized owners to act as extensions of law enforcement, allowing them to drag suspected Luddites to their own private cells for questioning.

The Luddites viewed property rights as just one instrument for achieving human rights – freedom from hunger and cold – and when property rights conflicted with human rights, they didn't hesitate to smash the machines. For them, human rights trumped property rights.

Their bosses – and their bosses' modern defenders – saw the demands to uphold the laws on automation as demands to bring "state violence" to bear on the wholly private matter of how a rich man should organize his business. On the other hand, literal killing – both on the factory floor and at the gallows – was not "state violence" but rather, a defense of the most important of all the human rights: the rights of property owners.

19th century textile factories were the original Big Tech, and the rhetoric of the factory owners echoes down the ages. When tech barons like Peter Thiel say that "freedom is incompatible with democracy," he means that letting people who work for a living vote will eventually lead to limitations on people who own things for a living, like him.

Then, as now, resistance to Big Tech enjoyed widespread support. The Luddites couldn't have organized in their thousands if their neighbors didn't have their backs. Shelley and Byron wrote widely reproduced paeans to worker uprisings (Byron also defended the Luddites in the House of Lords). The Brontes wrote Luddite novels. Mary Shelley's Frankenstein was a Luddite novel, in which the monster was a sensitive, intelligent creature who merely demanded a say in the technology that created him.

The erasure of the true history of the Luddites was a deliberate act. Despite the popular and elite support the Luddites enjoyed, the owners and their allies in Parliament were able to crush the uprising, using mass murder and imprisonment to force workers to accept immiseration.

The entire supply chain of the textile revolution was soaked in blood. Merchant devotes multiple chapters to the lives of African slaves in America who produced the cotton that the machines in England wove into cloth. Then – as now – automation served to obscure the violence latent in production of finished goods.

But, as Merchant writes, the Luddites didn't lose outright. Historians who study the uprisings record that the places where the Luddites fought most fiercely were the places where automation came most slowly and workers enjoyed the longest shared prosperity.

The motto of Magpie Killjoy's seminal Steampunk Magazine was: "Love the machine, hate the factory." The workers of the Luddite uprising were skilled technologists themselves.

They performed highly technical tasks to produce extremely high-quality goods. They served in craft workshops and controlled their own time.

The factory increased production, but at the cost of autonomy. Factories and their progeny, like assembly lines, made it possible to make more goods (even goods that eventually rose the quality of the craft goods they replaced), but at the cost of human autonomy. Taylorism and other efficiency cults ended up scripting the motions of workers down to the fingertips, and workers were and are subject to increasing surveillance and discipline from their bosses if they deviate. Take too many pee breaks at the Amazon warehouse and you will be marked down for "time off-task."

Steampunk is a dream of craft production at factory scale: in steampunk fantasies, the worker is a solitary genius who can produce high-tech finished goods in their own laboratory. Steampunk has no "dark, satanic mills," no blood in the factory. It's no coincidence that steampunk gained popularity at the same time as the maker movement, in which individual workers use form digital communities. Makers networked together to provide advice and support in craft projects that turn out the kind of technologically sophisticated goods that we associate with vast, heavily-capitalized assembly lines.

But workers are losing autonomy, not gaining it. The steampunk dream is of a world where we get the benefits of factory production with the life of a craft producer. The gig economy has delivered its opposite: craft workers – Uber drivers, casualized doctors and dog-walkers – who are as surveilled and controlled as factory workers.

Gig workers are dispatched by apps, their faces closely studied by cameras for unauthorized eye-movements, their pay changed from moment to moment by an algorithm that docks them for any infraction. They are "reverse centaurs": workers fused to machines where the machine provides the intelligence and the human does its bidding:

https://pluralistic.net/2021/02/17/reverse-centaur/#reverse-centaur

Craft workers in home workshops are told that they're their own bosses, but in reality they are constantly monitored by bossware that watches out of their computers' cameras and listens through its mic. They have to pay for the privilege of working for their bosses, and pay to quit. If their children make so much as a peep, they can lose their jobs. They don't work from home – they live at work:

https://pluralistic.net/2021/01/22/paperback-writer/#toothless

Merchant is a master storyteller and a dedicated researcher. The story he weaves in Blood In the Machine is as gripping as any Propublica deep-dive into the miserable working conditions of today's gig economy. Drawing on primary sources and scholarship, Blood is a kind of Nomadland for Luddites.

Today, Merchant is the technology critic for the LA Times. The final chapters of Blood brings the Luddites into the present day, finding parallels in the labor organizing of the Amazon warehouse workers led by Chris Smalls. The liberal reformers who offered patronizing support to the Luddites – but didn't imagine that they could be masters of their own destiny – are echoed in the rhetoric of Andrew Yang.

And of course, the factory owners' rhetoric is easily transposed to the modern tech baron. Then, as now, we're told that all automation is "progress," that regulatory evasion (Uber's unlicensed taxis, Airbnb's unlicensed hotel rooms, Ring's unregulated surveillance, Tesla's unregulated autopilot) is "innovation." Most of all, we're told that every one of these innovations must exist, that there is no way to stop it, because technology is an autonomous force that is independent of human agency. "There is no alternative" – the rallying cry of Margaret Thatcher – has become our inevitablist catechism.

Squeezing the workers' wages conditions and weakening workers' bargaining power isn't "innovation." It's an old, old story, as old as the factory owners who replaced skilled workers with terrified orphans, sending out for more when a child fell into a machine. Then, as now, this was called "job creation."

Then, as now, there was no way to progress as a worker: no matter how skilled and diligent an Uber driver is, they can't buy their medallion and truly become their own boss, getting a say in their working conditions. They certainly can't hope to rise from a blue-collar job on the streets to a white-collar job in the Uber offices.

Then, as now, a worker was hired by the day, not by the year, and might find themselves with no work the next day, depending on the whim of a factory owner or an algorithm.

As Merchant writes: robots aren't coming for your job; bosses are. The dream of a "dark factory," a "fully automated" Tesla production line, is the dream of a boss who doesn't have to answer to workers, who can press a button and manifest their will, without negotiating with mere workers. The point isn't just to reduce the wage-bill for a finished good – it's to reduce the "friction" of having to care about others and take their needs into account.

Luddites are not – and have never been – anti-technology. Rather, they are pro-human, and see production as a means to an end: broadly shared prosperity. The automation project says it's about replacing humans with machines, but over and over again – in machine learning, in "contactless" delivery, in on-demand workforces – the goal is to turn humans into machines.

There is blood in the machine, Merchant tells us, whether its humans being torn apart by a machine, or humans being transformed into machines.

Brian and I are having a joint book-launch tomorrow night (Sept 27) at Chevalier's Books in Los Angeles for my new book The Internet Con and his new book, Blood in the Machine:

https://www.eventbrite.com/e/the-internet-con-by-cory-doctorow-blood-in-the-machine-by-brian-merchant-tickets-696349940417

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

[alpaca-clouds]

The History of Cyberpunk

Or why every other SciFi Genre is called [something]punk

You know what? Let's do this. Because I have seen the discussion on whether or not Solarpunk is "punk" over the last few days and... people really gotta learn their history.

The first time a genre took the "punk" name was Cyberpunk. And for context we gotta talk a bit about the history of the Cyberpunk genre.

While some books that we in hindsight call "Cyberpunk" were released as early as the 1960s, the start of Cyberpunk as a genre got its start in the late 70s and early 80s.

The term was invented by Bruce Bethke, who published a short story in 1983 with the name "Cyberpunk". His idea was to juxtapose the term "punk" for both the mentality and the punk protagonists in his short story with the term cyber, short for the cybernetics they were wearing. And while the cybernetics have become a main stay in the genre, the punk attitudes are not always carried through...

Well, the title Bethke invented stuck, though. When 1984 Neuromancer was published, one of the most influencial works in the early days of the genre, he called it "a Cyberpunk novel" in the marketing. And from there... Well, the genre was suddenly named like that.

The 80s were definitely the decade that had the most influence on the genre, given that a lot of the big novels and graphic novels of the genre were released here.

A big influence was, no doubt, that 1982 the Blade Runner movie had released and had inspired quite a few writers and artists. (And yes, this makes Blade Runner a movie that released not only before the term Cyberpunk was coined, but also before the genre had a chance to define itself.)

Given that the genre was defined in the 80s, there are a lot of 80s anxiety kept within it about the rise of the Japanese economy, that are these days rarely questioned within the western Cyberpunk movement.

When the genre was coined and developed, Japan was the fastest growing economy in the world, being so influencial that they got to buy out several things in America. Something that kinda jerked white people in the US a lot. This is, why Cyberpunk originally depicted not only a capitalist hellscape - but specifically a capitalist hellscape were everything was bought out by Japanese companies, with many of those early antagonists being Japanese companies. And yeah... there was a lot of both anti-japanese racism, but also cultural appropriation of Japanese things in early Cyberpunk, at time surviving to this day. (But that is a story for another day.)

The general sense that Western Cyberpunk had, was always the idea of: We have a capitalist hellscape where the world is slowly dying and people are exploited with no end, while we have those kinda punky protagonists, who stand outside of the society and try to work against it. This being where the punk comes from.

Now, I could talk for length about how a lot of that punky attitude has been lost in more modern Cyberpunk media, but that, too, is a story for another day.

So, let me just talk about what happened then.

The term Cyberpunk really is darn catchy, right? So just when that name took hold, writer K.W. Jeter retroactively called his 1979 novel Morlock Night "steampunk". And guess what: This stuck, too. Though while the 80s Cyberpunk still stuck to the punk attitude, a lot of Steampunk did not. While for certain there is quite a bit of Steampunk that has kinda punky characters go against the quasi Victorian society of steampunk books (something most common in the air pirate novels I have read), a lot of other stories are more focused on a general sense of adventure.

But never the less... The genre names stuck and gave a nice baseline for naming other genre. We got Dieselpunk, Atompunk, Nanopunk, Arcanepunk, Dustpunk, Silkpunk and of course also Solarpunk and Lunarpunk.

And for the most part... The "punk" names mostly communicate: "It is SciFi with this kinda aesthetic/twist going on". Which is just how it turned out.

Funnily enough Solarpunk is for once a genre that brings back the punk, as it tends to include a lot of the ideals aspired to by the Punk counter culture of the 1970s: Anarchism, anti-capitalism, anti-consumerism, anti-classism, anti-racism, anti-colonialism and so on. Though other than with Cyberpunk and the real world punk movement, Solarpunk for the most part imagines a place, where those things are culture instead of counter culture.

I personally find it kinda sad, how for the most part Cyberpunk kinda lost a lot of the counter-cultural, revolutionary mindset. And how fucking defeatist the genre often is.

But again, it is a story for another day. Just as the story of Japanese Cyberpunk is.

[20kmemesunderthesea]

Captain Nemo, Freedom Fighter

There's a lot of historical and cultural significance in Twenty Thousand Leagues Under the Sea which is not widely known by modern audiences. Here some some facts I find very interesting:

-> In Verne’s original character notes, he was going to be a POLISH noble whose family was killed by Russians.

Verne’s publisher argued with him about that for a long time because of his large Russian fanbase. Verne reluctantly gave in, but eventually changed Nemo’s backstory to that of an Indian Prince whose family was killed by the British.

With that in mind, that makes the Soviet miniseries more interesting: A Polish revolutionary is actually mentioned by Captain Nemo in the second episode. Vladislav Dvorzhetsky, the actor portraying Nemo, was actually half-Polish himself!

-> Captain Nemo was written as a foil to Confederate Navy Captain Raphael Semmes.

Captain Raphael Semmes had portraits of General Robert E. Lee and the Confederate President Jefferson Davis on the cabin wall of the CSS Alabama, while Captain Nemo has portraits of Abraham Lincoln and the radical abolitionist John Brown in the cabin walls of the Nautilus.

Semmes was a supporter of slavery while Captain Nemo was an abolitionist.

Raphael Semmes stated that India should never be free from British rule,  while Captain Nemo was an Indian who fought to be free from British rule.

A list of more comparisons between Jules Verne's "Twenty Thousand Leagues Under the Sea" and Raphael Semmes' "Memoirs of Service Afloat During the War Between the States" can be found on Wikipedia.

Thus, in Twenty Thousand Leagues Under the Sea, Jules Verne was trying to point fingers at the cruelty of the British towards India, the Russians towards the Polish, AND Americans towards people of color.

There are many fascinating rabbit trails to explore in regards to Jules Verne's literary masterpiece. Here are some sources:

[kingmakerpod]

An underrated type of relationship: being in cahoots with someone.

[steampunktendencies]

Victorian ingenuity: a mahogany "reading station" crafted by Charles Hindley & Co. circa 1890. It features a double wing-back seat with an arm divider, each seat equipped with an adjustable reading stand, various compartments, drawers, and bookshelves.

Photos courtesy of Butchoff Antiques

[eternalergo]

STEELRISING — The Angel of Death

[useless-catalanfacts]

Clock made in the year 1576, known as "Barcelona great clock" (gran rellotge de Barcelona) or "clock of the Flemish" (rellotge dels flamencs).

This is the clock that marked the official time in Barcelona (Catalonia) from the top of its cathedral's bell tower between the years 1577 and 1864. It was made by Flemish clockmakers, and it's probably the biggest clock of its kind in the world.

Barcelona's cathedral got its first large mechanical clock in the year 1396. It was substituted 4 times before the clock on this post, which was the 5th. In 1864, this clock was taken down and a 6th one was installed, which is still in use nowadays.

Source: Museu d'Història de Barcelona.

[brothermouse]

Sunday doodle 8/11/24

Pitched this idea last week and got some positive responses so here’s one part of my new project. You know where it’s a collection of sketches and letters set in a steampunk alternate history world where some guy is traveling through Deseret, drawing cool stuff he sees and trying to convince his friend back home that he’s not going to get murdered by the Mormons.

Letter transcript:

My Dear Friend Victor,

As my previous letter was sent from a rather dubious, yet reliable location, I anticipate that this letter shall outpace it and reach you first. As such, I shall briefly recount its contents.

First you must know that I am well and relatively unscathed. When I arrived in St George I believed all my rough traveling behind me and it would be airships all the way to Salt Lake. Hardly thirty minutes in the sky a band of Confederate Holdouts revealed themselves and took control of the ship, intending to sail it back to one of their secret enclaves in the South to aid in their misguided “war effort”. Fortunately they were foiled by a Deseret Federal Marshal (Lt. Whitterby of the Danite division) who subdued the rebels and orchestrated an emergency landing in the town of Kanab, a good distance east of St George. As I said, the exact details are in my other letter which I sent from the Kenab post office. The postmaster there seemed old as Methusala, leading to my doubt on the speediness of that letter’s delivery. This letter I shall send from the St George post office which is of a more modern fashion.

But I must tell you of the mechanical wonder I encountered in Kanab! After the ordeal the band of Johnny Rebs were locked securely in the Kanab town hall (the town is too small for a proper jailhouse). The other passengers and I were given a little rest and refreshment in the same building (the town is also too small for a hotel). I took this time to write my previous (or possibly forthcoming) letter and send it off. After a while we heard the sound of twin airships approaching. These were the Thunderbird and the Tiancum, which Lt. Whitterby called for. One to return us to St George and the other to take away the villains. He asked us to remain where we were, that we might witness the official arrest and then sign documents witnessing that the correct persons were taken into custody (I swear these Mormons are obsessed with everything being witnessed!)

When the Deseret Marshals marched in they were accompanied by the most peculiar automatons. I was able to make sketches, which I have included. There were four of these contraptions, one for each of the Confederates. They each bore the stern face sculpted from copper or brass, I could not tell. I was told that they bore the face of that wiley old General O.P. Rockwell, who gave our General Sherman and all those Union boys such a rough time in the siege of Echo Canyon.

Each Rockwell was directed by its operator to stand directly behind the hijackers and hold the criminals' hands behind their backs, like a pair of handcuffs. Just as I was wondering why entire automatons were called for what a mere pair of handcuffs could do, one of the scoundrels broke free and made a break for it, rushing as though he would leap out of the window to freedom! But then the Rockwell machine did a strange thing. One of its hands dropped, as if it was on a hinge and a small device extended from the open wrist. With a pop, it shot a tiny harpoon attached with a thin wire at the man. I wondered at this, as the harpoon and wire were both far too small to catch a fish, let alone a desperate criminal. But when the harpoon struck him there came a sound like a deep angry buzzing and the man became stiff as a board and toppled over as if dead!

The foiled escapee was looked over and determined to still be alive, (though with quite a lot less fight in him) and was bound in the same manner as the rest. In asking Lt Whitterby what had just transpired, he told me that the machines “Rockwell Automatons” where based on a design currently being used in both London and Chicago ment to assist local law enforcement in apprehending and holding dangerous criminals. When I brought up how easily the man had been felled, the Lieutenant told me that that particular innovation was of pure Deseret origin. In the Chicago models a simple gun is concealed in the wrist, and the London model is given a club. Both were determined to be far too brutal for the liking of the Deseret Marshals, so an alternative device was created. This deceive, I was told, delivers a small electrical charge to the target, not powerful enough to kill, but just enough to temporarily confuse the nervous system and render the target harmless.

But look! I have been writing and sketching aboard the Thunderbird so long that we have been returned to St George so that I might continue my journey to Salt Lake! I must finish this letter and mail it while I can. As always I shall write to you whenever I am able.

Your friend,

Jacob K. Steinsworth

P.S. Please thank your wife, Isabel for her insistence that I carry a pocket Bible on this trip. It proved quite useful during the ordeal with those Confederate hijackers. Again, the full details are in the other letter.

[itscolossal]

Symbols and Colorful Motifs Inscribe Tomàs Barceló’s Fragmented Steampunk Sculptures

[gollancz]

Hey there @victoriocity fans! HIGH VAULTAGE was released yesterday, and there are a limited number of EXCLUSIVE signed special editions available from Goldsboro Books.

Only 2000 have been printed, these are collectable first editions from a specialist independent bookseller, and they are GORGEOUS. Goldsboro also ship internationally, so anyone can get their mitts on this!