Plunging into a vast prison that spans a planet, Clive Foliott faces a fantastic world of dwarves, cyborgs, and aliens unlike anything he has ever imagined. It is a multi-leveled collection of beings from the hidden folds of time and space. Trapped somewhere inside is Neville Foliott, Clive's twin brother, and no creature in the Dungeon will stop Clive from finding him...

Plunging into a vast prison that spans a planet, Clive Foliott faces a fantastic world of dwarves, cyborgs, and aliens unlike anything he has ever imagined. It is a multi-leveled collection of beings from the hidden folds of time and space. Trapped somewhere inside is Neville Foliott, Clive's twin brother, and no creature in the Dungeon will stop Clive from finding him...

For several centuries books in America customarily were pages bound between hardcovers and, in this century, had dust jackets wrapped around them, initially just to protect the cloth covers, but eventually as an attention-grabbing advertising poster.

In 1938, an experiment was launched. The cloth cover was exchanged for a paper one, and the colorful illustration and information that appeared on the dust jacket (author, title, publisher, a few lines about the book) was printed directly onto those paper covers. Cheaper paper was used, since these artifacts were no longer expected to form part of a permanent library, but were to be as disposable as a newspaper or magazine. And they were cheap: a 25-cent price made books affordable for a huge portion of the population. They became immeasurably successful almost overnight.

Today many of those books are highly sought-after collectors' items. In spite of the huge numbers printed, they are scarce now simply because almost no one ever thought to save them in colorful, pristine condition. The Great American Paperback illustrates in glorious full color more than 600 of the most interesting and collectable paperbacks, each with an informative caption that provides as much fascinating anecdotal information as the text, which is a masterly and scholarly history of the American paperback, tracing its roots to the early 19th century and concluding with a look at the future.

There are samples of the paperback originals of Ed McBain, Richard Stark, Jim Thompson, Harlan Ellison, and James M. Cain, as well as illustrations of such rarities as The Maltese Falcon, which was issued as a paperback with a dust jacket, and Ellery Queen's Halfway House, which was offered in two formats by the publisher, one bound the usual way, the other bound at the top edge.

If this massive work hadn't been produced in Hong Kong, it would have cost twice as much and is, believe it or not, a bargain, even at a price as hefty as the book itself. --Otto Penzler