Catalog 106, G-H
101. GARCIA MARQUEZ, Gabriel. Cien Anos de Soledad. (Santafe de Bogota): Editorial Norma (1997). The thirtieth anniversary edition of the author's masterwork, one of the most important novels of the century, which introduced "magical realism" to a wide audience and helped bring the "boom" in Latin American literature to this country when it was published in the U.S. in 1970. At the end of the 1970s this book was voted by the editors of The New York Times Book Review to be not only the best book published in the last ten years but the one most likely to still be read and to still be important one hundred years hence. Garcia Marquez has since been awarded the Nobel Prize, among countless other literary awards. One of 100 Roman-numeraled copies signed by the author. Bound in full leather with raised spine bands. Thin, shallow slice to lower spine; else fine in slipcase. A true high spot of Twentieth Century world literature, an uncommon signature (Garcia Marquez has limited his travels to the U.S. since a State Department ban imposed on him because of his friendship with Cuban leader Fidel Castro), and a rare edition of one of the defining books of the century.
102. GILCHRIST, Ellen. The Annunciation. Boston: Little Brown (1983). The uncorrected proof copy of her second book, first novel. Substantial differences exist between this version of the text and the final published version -including two chapters not included in the final text. Abibliographically significant proof. Gilchrist's next book, the story collection Victory Over Japan, won the National Book Award for fiction. Fine in wrappers.
103. GILLEN, Ann. "Some elephants they met and danced." (n.p.): (n.p.) (n.d). A scroll book by the noted sculptor, in the form of a 12 ft. long handprinted color woodcut. Commissioned in 1968, this is one of 75 numbered copies. Signed by the artist. Guillen is a noted artist and sculptor, whose works are in a number of important public, corporate and museum collections, including Lincoln Center, the Tibor de Nagy collection, and the Museum of Modern Art. The proof for this scroll book is in the collection of MOMA, NY. 12' x 11". Rolled; fine.
104. GOLDING, William. Pincher Martin. London: Faber & Faber (1956). The uncorrected proof copy of the third book by the Nobel Prize-winning author of Lord of the Flies (listed in this proof under Golding's previous publications as God of the Flies). Minor wear and spotting; still near fine in wrappers. An early proof, and very scarce.
105. GOLDING, William. Free Fall. London: Faber & Faber (1959). The uncorrected proof copy of his fourth novel. Ink name on the front cover (the reviewer assigned?) and mild edge and spine staining (apparently from the spine glue). A very good copy of a scarce, early proof. Like the above proof, this one is bound in green wrappers.
106. -. Another copy, this one in light gray wrappers, and perhaps thus a second state although we don't have any conclusive indication of priority. Near fine.
107. GOODIS, David. Street of No Return. NY: Fawcett (1954). A Gold Medal paperback original by one of the great thriller writers in the noir genre. Most of Goodis's novels were issued as original paperbacks, and a number of them were made into movies, most notably, perhaps, his novel Down There, which was filmed as Shoot the Piano Player by Francois Truffaut. Spine slant, minor creasing at the fold, but none to the spine. Near fine.
108. GORDON, Caroline. Green Centuries. NY: Bantam Books (1953). The first Bantam paperback edition of this historical novel of America in the years 1769-1779, by a Southern author who, as the wife of novelist and critic Allen Tate, was closely associated with the Fugitive movement in Southern literature. Slight rubbing to spine folds; near fine in wrappers.
109. (Grateful Dead). Poster for the SDS Ball. Provo: . An April 12th concert at the University of Utah, done as a benefit for the SDS, one of the radical student groups that thrived in the 1960s and later splintered into various factions over the question of the use of violence in social revolution. The Grateful Dead, long associated with the San Francisco counterculture, were famous (or notorious) for their disinclination to support the overtly political movements of one of the most politicized periods in American history; SDS had, on at least one occasion, attempted to disrupt a Grateful Dead concert in New York City, as a protest against the band's apparent political apathy, marking this as a significant political statement by one of the signature rock and roll bands of the Sixties. 14 1/2" x 25 1/4". Signed by band members Jerry Garcia, Bob Weir and Billy Kreutzman. A scarce poster: when six copies of it turned up, years after the event, and the band members were asked to sign them, each asked for a copy to keep in exchange for signing the others. So three of the six went to the band members who signed this, one was kept by the person who found the posters, this one came on the market, and one other is currently unaccounted for. Fine, and rare.
110. GRAVES, Robert and RIDING, Laura. A Pamphlet Against Anthologies. Garden City: Doubleday Doran, 1928. A collaborative effort by Graves and Riding, who lived together for a number of years in the late Twenties and Thirties, moving to Majorca, Spain, only to leave during the Spanish Civil War. Despite a turbulent relationship, they wrote together and also operated the Seizin Press together. Owner signature and a few light marginal marks in pencil. Very good in a fragile dust jacket, chipped at the spine extremities and weak at the folds.
111. GRAVES, Robert. Occupation Writer. NY: Creative Age Press, 1950. A collection of short pieces on a variety of subjects, including fiction and essays. Near fine in a very good, edgeworn dust jacket.
112. GREENE, Graham. The Quiet American. London: Heinemann (1955). A novel set in Saigon during the early years of the French Indochina war and based on several actual incidents involving Colonel Edward Lansdale, the CIA operative who has been called "the attending physician at the birth of South Vietnam." Greene's novel might have passed entirely from view among the bulk of his more ambitious writings had it not so clearly foreshadowed the moral terms of the coming American involvement in Vietnam with its theme of Western innocence/arrogance and good intentions gone awry. Greene, perhaps more than he expected, anticipated the failure of the half-hearted and conflicted Western efforts in Vietnam. Tiny owner name and date front flyleaf, very slight bowing to boards; still a very near fine copy in a mildly spine-tanned dust jacket with the publisher's wraparound band. Very scarce in such condition, and with the publisher's band.
113. HANSBERRY, Lorraine. Les Blancs and the Last Plays of Lorraine Hansberry. NY: Random House (1972). The uncorrected proof copy of this posthumous collection of the last plays by the African-American author of A Raisin in the Sun. Introduced by Julius Lester. Fine in wrappers. A scarce proof.
114. HEANEY, Seamus. Joy or Night: Last Things in the Poetry of W.B. Yeats and Philip Larkin. (Swansea): University College of Swansea (1993). The text of the W.D. Thomas Memorial Lecture, given by the Nobel Prize-winning poet in January, 1993. Fine in stapled wrappers.
115. HEMINGWAY, Ernest. A Farewell to Arms. NY: Scribner, 1929. Hemingway's second great novel, after The Sun Also Rises. A Connolly 100 title and a book that has been called the greatest war novel of all time, although only a small part of it has to do directly with the war. After the critical acclaim and commercial success of The Sun Also Rises, which went through 10 printings by 1929, Hemingway, together with F. Scott Fitzgerald, was widely seen as the leading spokesman for the "Lost Generation" of American expatriate writers in the years following World War I. His novels and stories captured and defined that experience in a way that has helped shape all views of it since. A Farewell to Arms was, by far, his most commercially successful book to date, and its success overshadowed everything he was to write for the next decade or more. With this novel Hemingway, in effect, created a legacy that he himself was unable to live up to until much later, with the publication of The Old Man and the Sea, the book that is generally credited with triggering his winning the Nobel Prize for Literature in 1954. Offsetting to endpages, mild spine-sunning and handling to boards; still near fine, lacking the dust jacket.
116. HEMINGWAY, Ernest. Death in the Afternoon. NY: Scribner, 1932. His first book of nonfiction, about bullfighting, a subject which was to enthrall him throughout his life. Hemingway saw bullfighting as embodying great metaphorical truths about life and death -- the inevitability of the bull's death, and the necessity of imbuing it with meaning through ritual and through the manly virtues of the matador's art: strength, grace under pressure, poise, and, finally, the courage to face and conquer the risk of death or mutilation. Heavily illustrated with photographs of various bulls and matadors, in the ring and, not infrequently, in the hospital. A fine copy in a near fine, price-clipped dust jacket. One of the key books of Hemingway's oeuvre. A very attractive copy of one of the key books in Hemingway's oeuvre.
117. HEMINGWAY, Ernest. To Have and Have Not. NY: Scribner, 1937. A novel about a reluctant Caribbean gun runner, criticized for its heavy-handed attempt to infuse the story with the fashionable left wing politics of the time. As his first novel since A Farewell to Arms, any book would have been found wanting; and even though we do not look to Hemingway's novels for piercing political analysis, the sympathies expressed in this book are exactly those that drove him to Spain during the Spanish Civil War, in futile support of the Spanish Republic -- one of the defining events of Hemingway's life. Slight bowing to boards; else fine in a near fine dust jacket with modest edgewear and rubbing. One of the half dozen full-length novels published in Hemingway's lifetime.
118. HEMINGWAY, Ernest. The Old Man and the Sea. NY: Scribner's, 1952. The last book published in Hemingway's lifetime, a novella that won the Pulitzer Prize for fiction and earned him, two years later, the Nobel Prize for literature. A short novel that has been characterized as a fable, it deals with a Cuban fisherman's struggles to land a giant marlin that he has hooked, and reflects Hemingway's concern for life as a struggle of man against nature, including his own nature. This copy is inscribed by Hemingway four days after publication, in Havana, Cuba. Hemingway lived in Cuba on his ranch, Finca Vigia, which is now a Cuban national monument, for most of the last years of his life. By the time of the publication of The Old Man and the Sea, Hemingway's literary star had seemingly fallen: his previous novel, Across the River and Into the Trees, had been soundly panned by critics, who called it a poor parody of Hemingway's earlier writings. By the 1950s, his physical health was declining as well, and he seldom ventured into the public limelight anymore, as he had been so accustomed to doing two decades earlier. As a result, this title -- one of the high spots in the Hemingway canon -- seldom turns up signed or inscribed, in comparison to many of his earlier books. This copy is inscribed to Ralph D'Andrea, an Italian-born international lawyer who was in Havana at the time the book was published and reportedly got it signed on the first day the book was available for sale in Cuba, September 12th, four days after its official publication. Spine darkened and frayed at the extremities: D'Andrea kep the book on his bookshelf without its dust jacket. Very good in a very good, supplied dust jacket. An attractive copy of one of Hemingway's most important works, and quite uncommon signed or inscribed. A decade after this book was published, Hemingway, suffering from failing health, committed suicide. He never finished any of the other writing projects he was working on over the last decade of his life.
119. HEMINGWAY, Ernest. Autograph Letter Signed. Dated "June 6 1944" (actually 1956). One full page, addressed to his eldest son "Bum." Written on stationery bearing his Cuban address, "Finca Vigia," on the anniversary of D-Day -- the invasion of Normandy, June 6, 1944 -- the letter begins: "It doesn't seem like 12 yrs. since we hit Omaha (Foxgreen) It seems like yest. or 112 years..." -- a poignant testimony to the intensity of that experience. Hemingway's bravery in war was legendary, and his landing with the Allied troops on D-Day only served to reinforce that perception. The rest of the letter deals with personal and financial matters, and and is chatty and newsy, although some of it also reflects Hemingway's fragile emotional state at the time. At one point, he comments that "It is lonesome here with Don Andres, Boise, and Negrita dead. Boy died while we were in Peru..." Signed, "Love Papa," with a circled "kiss" in the lower corner, as he often did in his letters to Bum. Folded in thirds for mailing; else fine. With hand-addressed envelope in which the street address is crossed out as insufficient and is corrected in another hand. A revealing glimpse of the author, outside of his public persona.
120. HEMINGWAY, Ernest. Autograph Letter Signed. September 26, 1958. One page, addressed to his eldest son "Bum." Written on stationery bearing his Cuban address, "Finca Vigia." A relatively short letter, apparently written because he had forgotten to include a check in an earlier mailing. This one comments on two hurricanes that are threatening Cuba, although both appear to be passing to the north of the island. He also talks about his health, a recent checkup he had, and his current weight ("205 3/4") and blood pressure ("140/66"). "Liver OK." Signed, "Love and good luck. Papa." Folded in thirds for mailing; else fine. With hand-addressed mailing envelope.
121. HEMINGWAY, Ernest. The Wild Years. (NY): Dell (1962). A posthumously published paperback original, collecting 73 newspaper articles Hemingway wrote for The Toronto Star from 1920-1024. Organized by subject. Light vertical crease to front cover; corner crease to rear; about near fine in wrappers.
122. HIAASEN, Carl. Stormy Weather. NY: Knopf, 1995. The uncorrected proof copy. A Florida mystery by this bestselling author, whose combination of hard-boiled mystery with wacky, over-the-top comedy has earned him both critical acclaim and enormous popularity. Fine in wrappers. The summary page shows a thumbnail illustration of the book, with a dust jacket design very different from the one that was used.
123. HOPKINS, John. The Attempt. NY: Viking (1967). The author's first novel, set in Peru and reminiscent of Paul Bowles's The Sheltering Sky in iits treatmentof young Americans adrift in an entirely foreeign world. Light foxing to endpages; near fine in a near fine dust jacket with a William Burroughs blurb.
124. HUDDLE, David. Only the Little Bone. Boston: Godine (1986). A review copy of Huddle's first story collection. His latest book was a National Book Award finalist. Fine in a near fine dust jacket.
125. HUGHES, Richard. A High Wind in Jamaica. London: Chatto & Windus, 1929. Hughes's most famous novel, which has recently been reissued, with the publisher proclaiming it the greatest novel of the 20th century. With his unsentimental description of childhood in this story of a group children kidnapped by pirates, Hughes effectively rewrote the standards by which novels involving children have been judged in the modern era. It is hard to imagine, for example, Lord of the Flies without A High Wind in Jamaica as a predecessor. This is the limited edtion, one of 150 numbered copies signed by the author, of a total edition of 157. Spine-faded; near fine, without dust jacket. A very attractive copy of one of the high spots of 20th century literature.