Craig Clevenger - Dermaphoria

Like have you read the book? Are you still reading it now? What are you fucking initial thoughts. And if you do have any be sure to mention it a spoiler if it is infact one about the book.

[QUOTE=UbikRex]Like have you read the book? Are you still reading it now? What are you fucking initial thoughts. And if you do have any be sure to mention it a spoiler if it is infact one about the book.[/QUOTE]
It's really good. Really fucking good. Really really fucking good.

[QUOTE=anxious phoenix]It's really good. Really fucking good. Really really fucking good.[/QUOTE]
Is it the same kind of narrative as The Contortionist? it's only in hardback--right? i'll have to make a trip into the city the next couple of days to get it.

I've read a preview street copy of the first few chapters. A P is right. I'm waiting on my mailbox for this one. It isn't like the Contortionist at all. I found it superior to it.

I was waiting for someone to recommend it. The way it's described by the publisher sounded really cliched.... I mean I feel like I've read so many stories about drug hallucinations and such... it's so trendy. But, I loved Contortionist despite some of its faults and I'm looking forward to reading Dermaphobia and seeing Clevenger and Baer read in SF in December together. That will be a great reading.

Is Dermaphobia fear of skin?
[QUOTE=UbikRex]Thats dermatophobia[/QUOTE]
ok, so what the hell is dermaphobia! (you know how long it took me to see the TO? me either, but longer than you'd think.)

Thats dermatophobia

[QUOTE=Zaki][IMG]http://img.photobucket.com/albums/v19/thefbz/Photo.jpg[/IMG]

I did not see any specific thread specifically on the book, so, here it is.

[url]www.craigclevenger.com[/url][/QUOTE]

It's been getting Velvet buzz, of course.

[QUOTE=mary]I was waiting for someone to recommend it. The way it's described by the publisher sounded really cliched.... I mean I feel like I've read so many stories about drug hallucinations and such... it's so trendy. But, I loved Contortionist despite some of its faults and I'm looking forward to reading Dermaphobia and seeing Clevenger and Baer read in SF in December together. That will be a great reading.[/QUOTE]

I got the 'street team' ten chapter tease, and a couple of things have given me reservations. I put it on hold at my local library (which means I'll get it eventually through that channel, always tricky with a new release that 'the kids' are reading). It's on my potential list of books to buy off Amazon when I have money for that again.

But when I started 'Contortionist's Handbook,' I almost didn't make it past that first chapter. "Great," thought I. "Another drug book."

It was the bit abuut the polydactyly observed by a third party, when I'd been thinking that by 'one hand' he either meant 'before this' or that he'd had so many overdoses he wasn't counting them accurately. And of course, it turned out to be more than a drug book.

I'm less enchanged by Will Christopher Baer than a lot of people who hang here at the Cult and especially (of course) at the Velvet. I read the Poe books, but 'Penny Dreadful' was the only one I really found satisfaction with.

I loved 'Contortionist's Handbook,' but as I learned with 'Haunted,' the fact that an author has tickled me in the past is zero guarantee that I'll like another book by the same. And not to pick on Chuck, I love Don DeLillo, but have never connected with 'The Body Artist.' Terry Southern wrote one of my all-time favorites 'The Magic Christian,' but his first novel, 'Flash and Filligree' wasn't worth the time to read IMO.

But then, I'm picky in a way. I have a fairly broad and catholic pallate when it comes to literature, but shopping at Foozle's for remainders, I debate over an A.M. Homes book at $4 in hardback. I think, "Okay, I loved 'The End of Alice,' but will I just hate "The Safety of Objects?"

Or take someone with a longer career than even DeLillo: Philip Roth. 'Portnoy's Complaint,' 'The Ghost Writer,' 'The Prague Orgy,' and to an extent 'American Pastoral' are all books I enjoy a great deal. 'Operation Shylock' I found on clearance for (no kidding) $1 in hardback, and I wanted a refund. Not just of the dollar, but of the time I spent reading it.

Yeah, the only Don DeLillo book I read was the Body Artist. What DeLillo book do you rec.?

And I'm glad I'm not the only one that isn't into the drug lit trend. And along with you Baer didn't wow me. I read Kiss me Judas and I have yet to read Penny Dreadful.... Or did I read Penny Dreadful and not Kiss Me Judas?... obviously the book wasn't particularly memorable. What I didn't dig about Baer and even Clevenger for that matter is the genre of being this ultra-masculine hyped noir druggy whatever plot it told type of deal that didn't appeal to me. They were hyper-masculine and not critiquing it or being aware of itself in that way the waY fIGHT cLUB WAS for example.

Also Chixulub... what's Velvet? Is that like a bookstore... I don't get it.

Its a web forum for the authors clevenger, baer & stephen graham jones.

[url]http://www.welcometothevelvet.com/[/url]

[QUOTE=UbikRex]Like have you read the book? Are you still reading it now? What are you fucking initial thoughts. And if you do have any be sure to mention it a spoiler if it is infact one about the book.[/QUOTE]It's a damn good book. Very tightly-constructed. I haven't read the final published version, but the ARC was really good. Clev made a concerted effort to make the narrative different than the one he used in The Handbook, and it shows. Some of the best moments of paranoid delusion (or is it?) I've ever read.

The first initial chapter is such a trip to read and his moments in the hotel room before heading over to the porn theater place. I remember those from the preview chapters and loved them. He has this complete lost identity that he is tracing back to and it looks like he'll be doomed to forget.

Has anyone got to page ninty-seven yet? Where he meets a friend of White's called associate? I reckon that's actually John Dolan Vincent.

[QUOTE=mary]Yeah, the only Don DeLillo book I read was the Body Artist. What DeLillo book do you rec.?

And I'm glad I'm not the only one that isn't into the drug lit trend. And along with you Baer didn't wow me. I read Kiss me Judas and I have yet to read Penny Dreadful.... Or did I read Penny Dreadful and not Kiss Me Judas?... obviously the book wasn't particularly memorable. What I didn't dig about Baer and even Clevenger for that matter is the genre of being this ultra-masculine hyped noir druggy whatever plot it told type of deal that didn't appeal to me. They were hyper-masculine and not critiquing it or being aware of itself in that way the waY fIGHT cLUB WAS for example.

Also Chixulub... what's Velvet? Is that like a bookstore... I don't get it.[/QUOTE]

The Velvet link has already been provided.

I don't think Clevenger was (at least in the Handbook, haven't read Dermaphoria yet beyond the 'street team' chapters) doing a hyper-masculine druggie. If you study autism, the full spectrum of it, I'd place John Dolan Vincent as a high-functioning autistic with savant tendencies. The way cocaine affects him is very indicative of someone who benefits from stimulant therapy. It centers him calms him, cuts out the noise. What he really needs is a script for Ritalin but he doesn' t know that, and in any case, the discovery of cocaine for him creates an essential part of his role as tragic hero:

In the Greek dramatic tradition, a tragic hero has to have a strength that is also his downfall. Vincent's ability to forge is what lets him avoid the asylum when he overdoses trying to treat Godsplitters; but it's also what traps him into the mob's control. And even if he could give them the slip, he needs the cocaine to function so he can continue to forge documents, and it's hard to keep a steady supply of cocaine without being noticed by someone in the mob if you have six fucking fingers and the only job skills you have are courier and forger.

For that matter, his choice of strippers as lovers is perfect because being autistic, he's bad at reading body language. Much easier to strike up a relationship with somoene who deals with sexual pleasure in more concrete terms. Even after the commercial angle goes out of it, Molly/Keara is all about what she can get out of him and what does she 'give' him?

So I'll keep an open mind about 'Dermaphoria' because I'm pretty impressed with what Clevenger accomplished with the 'Handbook.'

[QUOTE=mary]Yeah, the only Don DeLillo book I read was the Body Artist. What DeLillo book do you rec.?
[/QUOTE]

Ah, yes. I forgot to address this in my earlier slightly off-topic reply...

'Undeworld' was my introduction to DeLillo, so it's tempting ot recommend it, but it's such a broadside (827 pages in trade paperback) that it scares a lot of people off.

'White Noise' is good, and one the National Book Award I think but, IMO, not a book that would have made me a fan. 'Cosmopolis' to be sure, probably my favorite so far. 'Mao II' is good, even though he breaks my 'don't use writers as characters rule,' he does it in a fun way by deconstrucing the Pynchon/Salinger mythos.

Just found one called 'Great Jones Street' that's new to me (though it's not a new book, it's listed early on in the previous books on 'Underworld'). I plan to read it as soon as I finish 'The Curious Incident of the Dog in the Night Time.' Speaking of autistic narrators...

I never read him as being autistic so I can't really go with your argument, although you make a good one. It's been awhile since I read it. Next time I do, I'll think about what you said. All I remember is the woman in the book being one dimensional with stereotypical attributes of the hyper-sexed villain, femme fatale character. I also didn't forget a certain threesome sex scene that I didn't see the purpose of except illustrating the ultimate male fantasy of which its male readers would enjoy. Maybe you could enlighten me as to why that particular scene was necessary in the novel, or what its purpose was...?

And from reading the interview with Clevenger and the female character he changed after Baer's feedback: "When it came time to describe the stripper, I absolutely refused to describe a tan, curvacious California blonde... that would be boring and cliche. So I ran in the opposite direction, and described the skankiest, most nasty-looking woman possible. I think that description was in tact when I read at Soft Skull a couple of years ago, something about "an emaciated mime who'd been shoved through a tail pipe."

I don't know, maybe I'm just sensitive, but this trend of creating the most f---'d up characters to shock readers is annoying. Why a stripper/drug dealer? Why must a woman always be a stripper in these books? And if not a stripper, some nympho? And if not a nympho or a stripper, a villain, or manipulative bitch?

You're right though about keeping your mind open. Although I'm complaining... I'm still going to read Dermaphoria. I still think Clevenger's got big chops. He's a good writer. I know it's something I have to get over... stepping back and analyzing the book and giving the author the benefit of the doubt that he's not a jerk. Shit, if I can do it with ancient poet Ovid and the notoriously macho Hemingway I can do it with Clevenger and Baer.

[QUOTE=mary]I never read him as being autistic so I can't really go with your argument, although you make a good one. It's been awhile since I read it. Next time I do, I'll think about what you said. All I remember is the woman in the book being one dimensional with stereotypical attributes of the hyper-sexed villain, femme fatale character. I also didn't forget a certain threesome sex scene that I didn't see the purpose of except illustrating the ultimate male fantasy of which its male readers would enjoy. Maybe you could enlighten me as to why that particular scene was necessary in the novel, or what its purpose was...?

And from reading the interview with Clevenger and the female character he changed after Baer's feedback: "When it came time to describe the stripper, I absolutely refused to describe a tan, curvacious California blonde... that would be boring and cliche. So I ran in the opposite direction, and described the skankiest, most nasty-looking woman possible. I think that description was in tact when I read at Soft Skull a couple of years ago, something about "an emaciated mime who'd been shoved through a tail pipe."

I don't know, maybe I'm just sensitive, but this trend of creating the most f---'d up characters to shock readers is annoying. Why a stripper/drug dealer? Why must a woman always be a stripper in these books? And if not a stripper, some nympho? And if not a nympho or a stripper, a villain, or manipulative bitch?

You're right though about keeping your mind open. Although I'm complaining... I'm still going to read Dermaphoria. I still think Clevenger's got big chops. He's a good writer. I know it's something I have to get over... stepping back and analyzing the book and giving the author the benefit of the doubt that he's not a jerk. Shit, if I can do it with ancient poet Ovid and the notoriously macho Hemingway I can do it with Clevenger and Baer.[/QUOTE]

I have an autistic daughter and have read extensively in the non-fiction on the subject. The biggest thing that stopped me from reading 'The Curious Incident With the Dog in the Night Time' that I just started was it's 'Rainman' type description by some. That damned Hoffman movie has caused me to hear way too many times that 'that just means she's smart.'

Not all (or even most) autistics have savant characteristics similar to John Vincent's, but according to some people who know nothing at all, Einstein, Bell, and Leonardo Da Vinci were all autistic. Not that any of them were to my knowledge.

Things that made me think he was autistic:
[list]
[*]He was drawing before he could speak
[*]He was placed in Special Ed in pre-IDEA years, for vague reasons
[*]Because he couldn't talk, people assumed he couldn't understand what was said about him
[*]When given an abstract test like a Rorsharch, all he can do is draw the splotch
[*]He responds to stimulant therapy (self adminstered)
[*]He views the Evaluator like a machine he has to keep from going haywire
[/list]

I don't recall a three-way, I recall him asking about Kearra's sister, and she gets jealous and thinks the worst of his motives, when his curiosity is innocent. She's a stripper, borderline prostitute, who hates her family so much she'd like to disappear like Vincent does. She sees him as a tool to that end, and he sees her as an end in herself. Autistics are very literal, and it would be easy for her to take advantage of him in this way. When he gets out, she's burned the bridge and moved on, and all he's done is avoid two of his three worst fears for the time being.

I think the one-dimensional nature of the characters Vincent describes are maybe another sign to his autistic tendencies. He's too literal to think a word means multiple things, let alone that a person could be multiple things. Given his childhood, the way he fell through every safety net that was there for an autistic born int he mid 1960s, it fits. Remember when his Dad picks him up from juvenille detention and you get a glimpse that the Dad has more than booze and violence on his mind? He's not horrified that his son went into correctional, he's horrified that his son doesn't 'get' the significance of a property bag. It carries huge significance to the Dad, but to John it's just an envelope.

'Throw it the fuck out the window.' Pretty specific, and emotionally charged, instructions wouldn't you say? And I don't think it phases Vincent as anything but his Dad being Dad.

Or look at his description of Juvie as a beautiful Darwinistic system. Filled with the sounds of men digging for gold, it's the kind of order and regimentation that Vincent craves in a lot of ways.

As far as an author, any author, looking for opposites, what can I say? I'm an aspiring novelist, and I have rules based on things I've seen done too many times. Of course, if a novelist has to tell a story, he has to tell it. I don't care for the novelist as character, but 'Mao II' pulls it off by adding the Pynchon/Salinger angle and working in the thematic frustration that the written word no longer has enough impact to be a matter of interest to the state. Long, long gone are the days when a book could come anywhere near what a teenager wrapped in dynamite can do in a cafe.

Wow, a lot of stuff you mentioned that I didn't catch when I read it. But I guess that's what happens when you read a book and aren't able to talk to anyone about it. I wish I read it recently so I could have a decent conversation about it, but like I said it's been awhile.

You make me want to read it again. Maybe I will dig into it when I've got some time.

I'm an aspiring novelist too. I want to balance out what angers me about contemporary lit., society... everything. I don't think there's anything wrong with doing characters that have been done before because it's their voice that makes them different. It's secondary characters I think we need to be wary of. It's really hard to make secondary characters real breathing people. At least that's how I feel in my own work and reading other secondary characters in books I've read. But, they're secondary so maybe they're supposed to be just how the narrator sees them. Which makes sense, esp. the way you argued about the protagonists state of mind and how he would see Keara. Anyway, interesting stuff.

I liked Dermaphoria. It was a real departure in terms of writing style and scale. What I didn't like so much entails MAJOR SPOILERS- STOP READING.

It was basically the same story as the Contortionist. The main character is not a forger wanted by the mob, he's a chemist wanted by the mob. There's a babe involved that motivates him that he's possibly betrayed/destroyed.

I kind of felt like I was reading the same book from a different perspective. Like those plays where you choose to follow different characters in a house.

As far as creating characters that are fucked up just for the hell of it, I don't think it's a conscious decision on Craig's part. After talking to the guy, it's pretty obvious that these are just the types of characters he would want to write about. You can only write about what interests you, after all.

** MAJOR SPOILERS, CONTINUED **

That's funny that you think it was the same story. I didn't see that at all, and usually I have a keen critical eye for such things. I think I didn't see it as such because The Handbook is so strongly character-driven, rather than story/events-driven. And DpH has a lot more going on, as far as having a story that involves a web of other characters. And the main thing that set DpH apart for me is that *everything* is in question. For a while, I thought he really was in love with or obsessed with this woman. By the end, I wasn't sure if she ever existed at all (and I'm still not sure)

There is that mob-tie, yes. And the 2 main characters are both wanted for their extremely unique and selective talents. So yeah, they are similar in that regard. Doing that in 2 books doesn't bother or worry me so much. If he did it in his 3rd, I'd start to wonder. (Plus, look at classic noir and how formulaic the setups can be, yet the stories and writing can be very compelling when it's done right)

Anyway, I can't want to read DpH again, now that it's in it's final form.

Spoiler warning.

I pretty much agree with what Mirka said. It is a very similar story, but from almost the opposite perspective. As someone pointed out on The Velvet, the main character in TCHb knew everything and had everything under control (until the end), this character knew nearly nothing, he was starting from scratch and building up his knowledge.

Although the story of Dp is basically a poorer version of TCHb one thing has that this book has over it's predecessor is poetic imagery. I loved how well he described everything, the dog shaking off the universe and the glowing bugs forming the chemicals on the floor and walls.

[QUOTE=BitOfAFinger]** MAJOR SPOILERS, CONTINUED **

That's funny that you think it was the same story. I didn't see that at all, and usually I have a keen critical eye for such things. I think I didn't see it as such because The Handbook is so strongly character-driven, rather than story/events-driven. And DpH has a lot more going on, as far as having a story that involves a web of other characters. And the main thing that set DpH apart for me is that *everything* is in question. For a while, I thought he really was in love with or obsessed with this woman. By the end, I wasn't sure if she ever existed at all (and I'm still not sure)

There is that mob-tie, yes. And the 2 main characters are both wanted for their extremely unique and selective talents. So yeah, they are similar in that regard. Doing that in 2 books doesn't bother or worry me so much. If he did it in his 3rd, I'd start to wonder. (Plus, look at classic noir and how formulaic the setups can be, yet the stories and writing can be very compelling when it's done right)
[/QUOTE]

Well, I did find the writing compelling. The story less so as to me it felt overly familiar. I understand that classic noir is typically formulaic but I never considered Clevenger a genre writer. Contortionist seemed to borrow or nod a that genre but seemed just a very taut, suspensful novel. Derma doesn't seem noir either. I loved how hallucinatory and poetic it is. Just beautiful writing. And all the characters are interesting and well drawn. Toe Tag, oh man, scary.

I liked it a lot. I wasn't blown away in the same way as I was by Contortionist but that may be a matter of taste.

[QUOTE=mikandrewz]

Although the story of Dp is basically a poorer version of TCHb one thing has that this book has over it's predecessor is poetic imagery. I loved how well he described everything, the dog shaking off the universe and the glowing bugs forming the chemicals on the floor and walls.[/QUOTE]

And dissecting the bugs! Good stuff.

Oh yeah! I was going to say, his paranoia is awesome!

Right from the first chapter he thinks that the cops are robots and then there's all the extensive bug-metaphors and stuff, it's just awesome. Decoding the cricket calls and the infomation network between the bats, bugs and owls.

Mirka, I didn't mean to imply that Clev writes noir. Noir's just been on my mind a lot lately, so I used it as an example of something that has a few definite genre stereotypes, yet has some very compelling writers and stories.

[QUOTE=BitOfAFinger]Mirka, I didn't mean to imply that Clev writes noir. Noir's just been on my mind a lot lately, so I used it as an example of something that has a few definite genre stereotypes, yet has some very compelling writers and stories.[/QUOTE]

Ah, ok.

Finished this earlier today, brilliant stuff, similiar story like mirkah and mik mentioned but masterfully written. machines and fireflies dancing him into paranoia, a past being reconstructed with him disliking every bit he is regaining till it comes to the end.

agree with all of the above. gorgeously written book. especially enjoyed the bit where he thinks the mounted elk head in the diner is spying on him. “I hope that hunter shot you in the ass and killed all your children.” great stuff.

i've got nothing new to add, really: the writing alone makes it worth reading (clevenger's take on drug prose reads like a doors' song) but the story itself is less than innovative. i loved it though!

The writing is carved with a serial killer’s precision and attention to detail, eloquent flash fragments leading to composure that fucks anarchy. Scattered splinters multiply into an onslaught of neuron fireflies triggering a chain reaction towards reconstructed molecular vises biting hard on blocks of time.

The eloquent reconstruction of memory was the pull for me, the conflict of wanting to trust the narrator but knowing his recollections are frail and probably false. The plot was a wooden roller coaster. Starts shaking, giving the impression it’s going to jump the track but doesn’t and you inevitability end up where you thought you would but with a nauseating uncertainty and disorientation that doesn’t go away with Dramamine.

I prefer this to [I]Handbook [/I]because Clevenger plays with memory uniquely using strong poetic prose.

This was also the first time I’ve read acknowledgments and smiled.

i thought dermaphoria was SO much better than contortionists' handbook. to be honest, i didn't even like contortionists' handbook that much. the writing for dermaphoria was really good and the story seemed more interesting to me.

does anyone have a favorite quote??? mine is
"Everything in the universe is everything else. A man is a killer is a saint is a monkey is a cockroach is a whale, and the Devil is just the angel who asked for More."
-Craig Clevenger
i think this is so true. so many people seem to think that humans are for some reason better or more important than other animals, but really we are all the same. the only difference is that we evolved differently than other animals.

[QUOTE=ally]does anyone have a favorite quote??? mine is
"Everything in the universe is everything else. A man is a killer is a saint is a monkey is a cockroach is a whale, and the Devil is just the angel who asked for More."
-Craig Clevenger
i think this is so true. so many people seem to think that humans are for some reason better or more important than other animals, but really we are all the same. the only difference is that we evolved differently than other animals.[/QUOTE]
mine is basically all of chapter 10 which contains that bit you mentioned
what a great fucking soliloque/rant !

[B][COLOR=Red]SPOILERSSPOILERSSPOILERSSPOILERS[/COLOR][/B]

I never read the summary's provided on the backs of books. i didn't hear anything about the book, and bought it just because of who wrote it.

i had a hard time with the book, and will re read it because i went in totally fresh and was confused as hell. since i didn't know anything of the story, the delusions and such, i thought it was just a scrambling non sense narrative that would come together a little ways into the novel. it didn't. i eventually caught on but feel as though i didn't get the full appreciation...especially reading your guys's posts, its reminding me of parts (like the bats/ crickets communicae) and i'm saying to myself, "yeah, that [I]was[/I] good..."

at least, if nothing else, i learned to not to go into books COMPLETELY fresh...

oh yeah......did anyone else notice Dennis and Chucks acknowledgement?

Am I the only one who thought half the book was a tad reminiscent of Baer? Granted, the only Baer book I've read was Kiss Me, Judas, but the hallucinatory prose was very familiar.

Very much in the WCB vein, which is part of what I didn't dig. No offense to Chris, I think he's a sound writer on many levels, but the only book in the Poe trilogy I have much affection for is Penny Dreadful, and that's mainly due to a pet theory I adopted, that Poe is lying about being an ex cop, that he's really a junkie informant. That book, it struck me the nature of identity and the way the game of tongues looks a lot like internet culture, etc.

Maybe Contortionist's Handbook raised my expectations too high. That was an awfully good debut, so if Dermaphoria is 'sophomore slump' maybe Clevenger has more to say that I'll dig. It seems to me that his association with WCB has amounted to a huge influence on his writing, and since I'm not as pro on WCB, that's necessarily a step backward for me in some respects.

I saw it as him wanting to take a different take with the narrator. One where in Contortionist you can believe every word he is telling you and nothing in what he shows you is something to be miscontrued(sp) with anything else than for what it is and in Dermaphoria you can't believe a word in what he believes in because it is either wrong or distorted until slowly he gradually starts pulling things together long enough for you to fill in the blanks and even then it is a hit or miss upon personal interpretation.

Brilliant prose in Dermaphoria, similiarities to Baer but completely different from Baer as well.

Dermaphoria is a amazing feat of prose that I dig a lot because that is the kind of prose I've always aimed to write and somewhat understand.

Well, one of the big differences there, for me, is John Dolan Vincent is a lot more 'real.' He's got classic autistic spectrum symptoms, including the literal-mindedness, and the drug abuse is actually a self-administered therapy, coke from the street in lieu of Ritalin from the pharmacy.

Dermaphoria, to my eye, relies too much on the 'drugs are cool' ethos most of us outgrow by the time we're old enough to drive.

Where can I purchase some Craig Clevenger for cheap? He's not on amazon.

And also...WCB is good, but no Chucky P.

They should have him on amazon.

If not try Alibris.com and maybe....abebooks.com

They both have good prices on used and new books

[QUOTE=UbikRex]They should have him on amazon.

If not try Alibris.com and maybe....abebooks.com

They both have good prices on used and new books[/QUOTE]
Dermaphobia is not anywhere on any of those 3 sites...Hmm...

It's not on half.com or ebay either.

[QUOTE=the midas touch]Dermaphobia is not anywhere on any of those 3 sites...Hmm...

It's not on half.com or ebay either.[/QUOTE]
That's because it's Dermaphoria not phobia. If you still have trouble just search Clevenger. Because I just bought that book off amazon a few months ago.

Screw it. I'll just link them.

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