There’s a particular feeling I get when I hold a book like Four Faces of Siva, a true first edition from 1929. It’s not just the sturdy, cloth-bound boards or the satisfying weight in my hands; it’s the immediate sense of stepping back in time, of touching history directly. This isn’t just a book; it’s a time capsule, offering a window into how the Western world viewed one of Asia’s most astounding ancient sites almost a century ago. When I first encountered this copy, my eyes immediately went to the condition – so many books from this era have simply fallen apart, but this one felt solid, ready to tell its story. And what a story it is, chronicling the ancient Khmer Empire and the mysteries of Angkor Wat through the eyes of a skilled journalist. This specific copy, a clean, complete Four Faces of Siva first edition, is a real pleasure to examine, a prime example of why early editions of such works are so sought after.
Currently available: A copy of this item is in our collection — listed at $55. View listing on eBay →
Unearthing Wonders: The Roaring Twenties and a Lost Civilization
Imagine the 1920s. The world was still reeling from the Great War, but there was also this electric current of discovery running through popular culture. Howard Carter had opened Tutankhamun’s tomb just a few years earlier, sparking a global obsession with archaeology and “lost civilizations.” People were absolutely captivated by tales of forgotten empires, hidden cities, and daring explorers. This wasn’t just dry academic stuff; it was adventure, romance, and pure wonder.
It was into this atmosphere that Robert J. Casey, a sharp-witted American journalist, stepped with his account of Angkor. The Khmer Empire, with its vast temple complexes like Angkor Wat and Angkor Thom, was beginning to truly register on the Western consciousness. But most people knew little beyond whispers and blurry photographs. Casey’s genius was in making this ancient history accessible, thrilling, and personal. He didn’t write a dry textbook; he crafted what amounts to an archaeological detective story, presenting the exploration of these incredible ruins as a mystery waiting to be solved. That approach was groundbreaking for its time, pulling readers right into the adventure alongside him.
You can really feel the era in Casey’s prose. He brings a reporter’s knack for vivid description and narrative drive, painting a picture of these immense stone structures emerging from the jungle. He describes the daily life around them, the sense of wonder, and the ongoing efforts to understand who built them and why. For a generation hungry for exotic tales and intellectual puzzles, Four Faces of Siva hit all the right notes. It helped popularize non-Western cultures and ancient history in a way that few books had before, paving the way for countless travelogues and archaeological accounts that followed. I find it fascinating how a book can not only document history but also become a piece of history itself, reflecting the popular interests and sensibilities of its time. This book is absolutely one of those.
Picturing the Past: Angkor Through a 1920s Lens
For me, one of the biggest draws of this first edition isn’t just Casey’s lively prose, but the sheer visual richness of the book. It’s crammed with full-page halftone photographic plates. And when I say “crammed,” I mean it – there are a lot, and they’re incredibly clear. These aren’t just decorative pictures; they are historical documents in their own right. They show Angkor Wat and Angkor Thom, the Bayon temple, and other structures exactly as they appeared in the 1920s.
Think about that for a second. We’re talking about nearly a century ago. The way the light fell on the carvings, the state of the temples, the surrounding environment, even the local people going about their lives – it’s all captured here. You can see details that might have changed or eroded over the decades. Modern tourist photos, for all their digital clarity, simply can’t offer that particular glimpse into a specific moment in time. These plates bring the ancient sites to life, not just as ruins, but as places that still held secrets and an active, living presence around them.
In my experience picking these up, the quality of these original halftone plates is a huge differentiator. Later reprints or modern editions almost always lose some fidelity. The sharpness, the contrast, the subtle gradations of tone that you get in a first printing from The Bobbs-Merrill Company in 1929 – that’s something you just can’t replicate perfectly. The original printing process had a certain depth to it, a textural quality that gets lost in subsequent reproductions. Collectors really value this original production quality, especially when all the plates are present, clean, and crisp, as they are in this copy. It’s like looking at the original negatives versus a copy of a copy; there’s a tangible difference in the visual experience. It’s this visual documentation that makes the book more than just a good read; it makes it an important piece of cultural history.
Robert J. Casey: A Journalist’s Eye for Adventure
Who was the man behind this compelling narrative? Robert J. Casey (1890-1962) was no armchair historian. He was a seasoned American journalist, a foreign correspondent for the Chicago Daily News, and an incredibly prolific author. His career spanned decades, covering everything from crime reporting – he was well-known for his sharp observations of the underworld – to war reports and, of course, travelogues like this one.
Casey brought a unique perspective to his exploration of Angkor. He wasn’t a trained archaeologist, and that, in a way, was his strength for this particular book. He approached the subject with a journalist’s keen eye for observation, a storyteller’s instinct for narrative, and a healthy dose of curiosity. He wasn’t afraid to speculate, to present theories, or to weave the human element into the ancient past. This journalistic sensibility is precisely why Four Faces of Siva resonated so strongly with the general public. He made complex history digestible and exciting, stripping away the academic jargon and replacing it with engaging prose.
He published a staggering number of books over his career, from humorous travel guides to serious examinations of international events. This makes him a figure of some note in early 20th-century American letters, even if he’s not a household name today. The fact that a publisher as prominent as The Bobbs-Merrill Company – known for both popular fiction and serious non-fiction – put out this book in 1929 also speaks to its perceived importance and commercial appeal at the time. They were a major player, and their backing gave Casey’s work a wide reach. It’s a testament to Casey’s talent that he could pivot from reporting on gangsters in Chicago to unraveling the mysteries of an ancient Asian empire with equal skill and enthusiasm.
What’s in a Name? Decoding ‘Four Faces of Siva’
The title itself, Four Faces of Siva, is quite evocative, isn’t it? It immediately conjures images of ancient, mysterious deities. But it also points to a specific detail at the heart of Angkor Thom: the Bayon temple. If you’ve ever seen photos of the Bayon, you know exactly what Casey was talking about. It’s adorned with hundreds of colossal stone faces, serene yet powerful, carved into its numerous towers.
Now, here’s where it gets interesting and a little bit historically muddy. In early Western accounts, and even for some time after Casey’s book, there was a fair bit of misidentification regarding these faces. Many initially thought they depicted the Hindu deity Siva (Shiva), one of the principal gods of Hinduism, known for his multiple manifestations. However, later scholarship largely concluded that these faces most likely represent Lokeshvara, the bodhisattva of compassion, a key figure in Mahayana Buddhism, or even King Jayavarman VII himself, the great Khmer monarch who built Angkor Thom and the Bayon in the late 12th or early 13th century. There’s still some debate and nuance, but the identification with Siva has largely fallen out of favor.
Casey’s use of “Siva” in the title reflects the prevailing understanding (or misunderstanding) of the time. It’s a small detail, but it’s historically accurate for when the book was written. It shows us how archaeological interpretation evolves as new evidence is unearthed and new perspectives emerge. For collectors, this aspect of the title actually adds another layer of historical context. It places the book firmly in its era, a snapshot of knowledge and interpretation from nearly a century ago, before many of the more refined understandings of Khmer iconography had fully taken hold. I think it’s pretty neat to see how our knowledge has shifted since then.
The Allure of a True First Edition: Rarity and Condition
When it comes to collecting, a book like Four Faces of Siva in its true first edition from 1929 holds a special appeal. Why? Well, it’s not just about having the earliest printing; it’s about the entire package.
First, there’s rarity. While copies of Four Faces of Siva certainly exist, finding a true first edition from 1929 in genuinely excellent condition is becoming increasingly scarce. We’re talking about a book that’s almost 95 years old. Over that time, books get read, lent, dropped, stored in damp basements, or simply disintegrate. Copies with clean boards, a tight binding, and all those beautiful photographic plates present and crisp – not foxed, not stained, not loose – are getting harder and harder to come by. The specific subject matter and its age naturally contribute to a limited supply on the market.
Then there’s the question of comparable editions. Yes, there are reprints. Modern editions exist. But they’re not the same. They lack the original production quality, the feel of the paper, the distinct aroma of old ink, and crucially, the historical provenance. Collectors, myself included, are almost always looking for that initial printing. It’s not just an aesthetic preference; it’s about historical integrity. The original halftone photographic plates, as I mentioned, just don’t reproduce with the same fidelity in later printings. You want to see Angkor as it was presented to the world in 1929, not a diluted version.
This specific copy, with its described excellent condition – clean boards, tight binding, pristine interior, and all plates clear and present – stands out. It’s got that wonderful feel of a book that’s been cared for, appreciated, and preserved. And let’s not forget the distinctive binding itself, which just adds to its overall appeal on the shelf. It’s not just a piece of history; it’s a handsome one, too. For anyone interested in archaeology, Southeast Asian history, or simply the golden age of travel literature, securing a copy like this is a solid acquisition.
Frequently Asked Questions
What is ‘Four Faces of Siva’ about? It’s an archaeological adventure story by Robert J. Casey, published in 1929. The book explores the mysteries and history of the ancient Khmer Empire, focusing on the incredible temples of Angkor Wat and Angkor Thom, all presented through a compelling narrative lens as they were understood in the late 1920s.
Why are the illustrations in this book considered so important? The book is generously illustrated with numerous full-page photographic plates. These images capture Angkor Wat and Angkor Thom exactly as they appeared in the 1920s, offering a truly valuable visual record. They enhance the narrative by bringing the ancient sites to life, and the quality of these original halftone plates in the first edition is particularly prized by collectors.
Who was Robert J. Casey? Robert J. Casey (1890-1962) was a well-known American journalist and foreign correspondent for the Chicago Daily News. He was a highly prolific author, writing on everything from crime and war to travel, bringing a sharp, journalistic eye and engaging storytelling style to all his subjects, including this exploration of Angkor.
About This Copy
This is a true first edition of Four Faces of Siva, published by The Bobbs-Merrill Company in 1929. It’s in truly excellent condition for its age. The dark green cloth boards are remarkably clean with minimal wear, the spine remains tight and square, and the interior pages are crisp and unmarked. All the full-page halftone photographic plates are present, vibrant, and clear, with none of the typical foxing or staining I often see in books from this period. It’s a beautiful, solid copy that feels like it just came off the press.