Catalog 113, H
167. HARRIS, Mark. Trumpet to the World. NY: Reynal & Hitchcock (1946). The first book by the author of Bang the Drum Slowly, among many other novels and autobiographical works. Near fine in a very good, dusty dust jacket with one internally mended edge tear.
168. HARRIS, Mark. A Ticket for a Seamstitch. NY: Knopf, 1957. The third of his acclaimed Henry Wiggen baseball novels (along with Bang the Drum Slowly and The Southpaw). Upper board edge bumped; near fine in a modestly edgeworn dust jacket, also near fine but for a small pen doodle on the lower front panel.
169. HARRISON, Jim. Locations. NY: Norton (1968). Harrison's second collection of poetry, which precedes his first novel by two years. This is the hardcover issue; there was a simultaneous paperback. 1250 copies of the hardcover were done, making it scarcer than even his elusive first book, Plain Song, which had a 1500-copy hardcover first printing. Signed by the author. Fine in a fine dust jacket with trace rubbing to the spine lettering.
170. HARRISON, Jim. Wolf. NY: Simon & Schuster (1971). The author's first novel, after several books of poetry. Inscribed by the author to noted filmmaker Paul Bartel in 1980. Remainder mark bottom page edges and a small sticker shadow on front pastedown; else fine in a near fine dust jacket.
171. HARRISON, Jim. Letters to Yesenin. Fremont: Sumac (1973). The scarce hardcover edition of this title, probably Harrison's most elusive book. Of a total edition of 126 hardcovers (there were 1000 copies in wrappers), this is one of 100 numbered copies signed by the author. Fine in a near fine dust jacket with modest rubbing to the spine and folds. An attractive copy of a book that is a "stopper" for many Harrison collections.
172. HARRISON, Jim. A Good Day to Die. NY: Simon & Schuster (1973). His second novel, which has long been considered the scarcest of his volumes of fiction. Inscribed by the author to filmmaker Paul Bartel in 1980. Remainder line bottom page edges; fine in a very near fine dust jacket with a faint strip of sunning at the lower edge.
173. HARRISON, Jim. Farmer. NY: Viking (1976). Harrison's third novel. This is the second issue, measuring less than 5" from spine cloth to board edge. Because of binding problems, the first printing of this book was recalled and "a completely new first printing" was issued. Inscribed by the author to Paul Bartel in 1980 with a full-page self-caricature. Fine in a fine dust jacket.
174. HARRISON, Jim. Returning to Earth. (Berkeley): Ithaca House (1977). One of the least common of his titles, a small poetry chapbook, this edition preceding its publication in a joint volume with Letters to Yesenin. Signed by the author. Fine in stapled wrappers.
175. HARRISON, Jim. Legends of the Fall, Revenge, The Man Who Gave Up His Name. (NY): Delacorte/Seymour Lawrence (1979). The one-volume trade edition of this collection of novellas. Inscribed by the author to filmmaker Paul Bartel in 1980. Fine in a fine dust jacket. A nice association: two of the three novellas in this collection were made into movies, including the title piece, which won an Academy Award.
176. HARRISON, Jim. After Ikky . Boston: Shambala, 1996. A small volume of poetry, issued simultaneously in paperback and in a cloth edition reported variously as either 500 or 1000 copies. This is the hardcover edition, and whatever its actual print run, it is many times scarcer than any of Harrison's other recent trade editions, which tend to have print runs in the range of 35,000-50,000. Signed by the author. Fine in a fine dust jacket.
177. (HARRISON, Jim). Five Blind Men. Fremont: Sumac, 1969. An anthology of poetry by Harrison, Dan Gerber, George Quasha, J.D. Reed and Charles Simic, printed by the Sumac Press, which Gerber and Harrison jointly operated. Of a total hardbound edition of 126, this is one of 26 lettered copies signed by the authors. Fine without dust jacket, as issued.
178. HARUF, Kent. Plainsong. NY: Knopf, 1999. The author's highly praised third novel, a National Book Award nominee. Signed by the author, with an autograph postcard signed laid in, in which Haruf agreed to sign the book. Fine in a fine dust jacket.
179. HAWKES, John. The Beetle Leg. (NY): New Directions (1951). The first issue, in orange cloth, of his third book. Uneven fading to board edges; near fine in a very good, internally tape-mended dust jacket.
180. HELLER, Joseph. "Aristotle in New York." March 1988. A 21-page typescript (computer printout with one holograph marking, closing the gap between two paragraphs) of an excerpt from Heller's novel Picture This. Submitted to Art & Antiques magazine six months prior to the book's publication. Fine, in the binder of Heller's agent. With the letter of transmittal from the agent and a copy of an internal memo advocating publication.
181. HELLER, Joseph. Closing Time. NY: Simon & Schuster (1994). The limited edition issued by the trade publisher. One of 750 numbered copies signed by the author. Fine in a fine slipcase.
182. HEMINGWAY, Ernest. The Torrents of Spring. NY: Scribner, 1926. His first novel, printed in a tiny edition of only 1250 copies. Hemingway began the book while under contract to Boni & Liveright, who had published his first book, the collection of stories In Our Time. Hemingway was dismayed by the lack of commercial success the book had had, blaming it on the publisher's poor promotion and also on the use of blurbs by more famous writers -- most especially Sherwood Anderson, who was then the dean of American letters and Boni & Liveright's bestselling author. Hemingway felt the blurbs were off-putting and hurt, rather than helped, his book. One might also surmise that he chafed under the somewhat condescending implication of the more famous and highly regarded Anderson giving a glowing blurb to the younger, up-and-coming writer. Hemingway was working on The Sun Also Rises at the time and had completed the first draft, but he did not want to take the risk of having it presented poorly to the world and getting lost in the shuffle as his first book had. Although he was under contract to Boni & Liveright for two more books, Hemingway contrived a plan to free himself from the obligation: his contract stated that if Boni rejected one of his books, he would be free to terminate the contract and take his writing elsewhere. As such, he conceived of a short, comic novel which would lampoon Sherwood Anderson's most recent book, Dark Laughter, and which would be unpublishable by Boni, thus freeing Hemingway to go elsewhere. Hemingway wrote The Torrents of Spring in a few short weeks in November, 1925 and submitted it to Boni & Liveright where it was promptly, as he had expected, rejected. It was then that Hemingway moved to Scribner's, beginning his long association with the legendary editor Maxwell Perkins. Although The Torrents of Spring begins as a burlesque of Dark Laughter, it succeeds ultimately as a satire of the American cult of maleness, a subject to which Hemingway was no stranger and which would course through his writings for his entire career. F. Scott Fitzgerald later called The Torrents of Spring "the best comic [novel] ever written by an American." This is a fine copy in a very near fine dust jacket with the most minuscule restoration to the spine and top edge. A beautiful copy of an extremely scarce book, which initiated the trajectory by which Hemingway would come to be considered by many the greatest American writer ever, winner of a Nobel Prize for Literature, and a defining influence on American writing for generations to come.
183. HERR, Michael. Dispatches. NY: Knopf, 1977. One of the enduring classics of the literature of the Vietnam war. Herr, reporting for Rolling Stone and Esquire from Vietnam, was one of the first of the young writers to bring the sensibilities of the 1960s and the conventions of the New Journalism to the "first rock-and-roll war," and it worked: nobody had recounted the kinds of tales Herr found in Vietnam, which he sent back in a riveting series of dispatches that were eagerly awaited and legendary, even at the time. "Hell Sucks," "Illumination Rounds," "Khe Sanh," and his other pieces told stories of the war in voices so authentic -- the uncensored words of the ground-level participants themselves -- that their impact was enormous. The Official Picture of an orderly progression to the war -- Body Counts, Vietnamization, Winning Hearts and Minds -- bore no relation to the chaos and sheer hell that Herr found by merely scratching the surface and getting the grunts'-eye view of the war. His writings helped define the "credibility gap" that characterized Vietnam and led to the daily military briefings being known as the Five O'clock Follies. His prose is crystalline: nothing is wasted; it's as though the spaces between the words -- the silences and the things not said -- speak as loudly and clearly as the words themselves. Each piece is complete in itself, and the whole adds up to more than the sum of its parts both by virtue of its intensity and by the common chords struck throughout, regardless of the specific subject matter -- the disaffection of the GI's for the war, the lack of any credible accountability, the randomness and meaninglessness of the huge sacrifices that the grunts, many of them still teenagers, were being asked to make. An important book on the war, and scarce in fine condition. This copy is fine in a fine dust jacket, with a "compliments of the author" card laid in.
184. HIAASEN, Carl. Stormy Weather. Blakeney: Scorpion (1995). The limited UK edition, bound from the sheets of the Macmillan edition but including a two-page appreciation of Hiaasen by award-winning mystery writer and editor Maxim Jacubowski not in the trade edition. Of a total edition of 100 copies, this is one of 15 deluxe copies quarterbound in leather and signed by the Hiaasen and Jacubowski. The scarcest issue a Hiaasen limited edition. Fine without dust jacket, as issued.
185. HIGHSMITH, Patricia. People Who Knock on the Door. NY: Penzler Books (1985). The first American edition of this novel by the award-winning author of The Talented Mr. Ripley and Strangers on a Train, among others. This is the limited edition, one of 250 numbered copies signed by the author. Fine without dust jacket, as issued, in a fine slipcase.
186. HIJUELOS, Oscar. The Mambo Kings Play Songs of Love. NY: FSG (1989). Hijuelos' second book, winner of the Pulitzer Prize and later the basis for a well-received, Oscar-nominated movie. Signed by the author. Fine in a near fine dust jacket with some small surface scratches.
187. HIJUELOS, Oscar. The Fourteen Sisters of Emilio Montez O'Brien. NY: FSG (1993). His third novel. Signed by the author. Fine in a fine dust jacket.
188. HOAGLAND, Edward. Seven Rivers West. NY: Summit (1986). A novel on which the author reportedly worked for 20 years, and which combined his passion for, and knowledge of, the natural world with a careful attention to historical detail and a rich literary imagination. Hoagland began his writing career as a novelist, winning a Houghton Mifflin Literary Fellowship Award for his first novel, Cat Man. He later began writing nonfiction, publishing a number of highly praised volumes of nonfiction, and being called by John Updike "the best essayist of my generation." This was his first novel published in more than two decades. Inscribed by the author to film critic Pauline Kael. Laid in is a typed note signed by the author: "Dear Pauline: This is my magnum opus. Would it have a shot at the movies?" The note has some light offsetting from a review laid in next to it; the book is fine in a fine dust jacket. A nice association copy of a major work by one of America's most esteemed writers.
189. HORNSBY, Wendy. 77th Street Requiem. (NY): Dutton (1995). A Maggie MacGowen mystery, by an Edgar Award-winning author. Signed by Hornsby. Fine in a fine dust jacket. Laid in is an autograph postcard signed by the author.
190. HOUSEWRIGHT, David. Penance. Woodstock: Countryman Press (1995). His first novel, a Holland Taylor mystery, winner of the Edgar Award. Signed by Housewright. Fine in a fine dust jacket. Laid in is an autograph note signed by the author.
191. HUGO, Richard. The Real West Marginal Way. NY: Norton (1986). Hugo's posthumously published autobiography, in the form of essays and interviews, co-edited by James Welch, Lois Welch and Ripley Hugo. Includes an interview with Hugo by William Kittredge. This copy is signed by both Welch and Kittredge. A nice association copy: Hugo was in some ways the dean of Western American writing in the 1960s, helping to establish the regional literature as an important element of American literature, both with his own poetry (for which he received two National Book Award nominations) and as a teacher of creative writing at the University of Montana, where Welch was one of his students and Kittredge a colleague. So many writers came out of the UM program, and so many others moved to Montana from elsewhere in the U.S. that today Montana is sometimes half-jokingly referred to as an American Bloomsbury and, Hugo helped set the stage for this development. Fine in a fine dust jacket.
192. (HUNCKE, Herbert). The Unspeakable Visions of the Individual, Vol. 3, Nos. 1 & 2. (California, PA): (U.V.I.) (1973). An issue dedicated to Huncke and featuring work by him as well as by John Clellon Holmes, Allen Ginsberg and Herbert Gold, among others. Laid in is a warm autograph letter signed to film critic Pauline Kael from the editors Arthur and Glee Knight. Rubbing to the spine; else fine in stapled wrappers, with the publisher's prospectus laid in.
193. HUNTER, Evan. Lizzie. NY: Arbor House (1984). The uncorrected proof copy of this mainstream novel by the author of The Blackboard Jungle, who also writes a series of highly praised police procedurals under the name Ed McBain. Hunter and "McBain" recently "collaborated" on a novel. This copy is marked "Press Copy" on the front cover and first leaf; spine-tanned; near fine in wrappers.
194. HUXLEY, Aldous. Heaven and Hell. London: Chatto & Windus, 1956. The companion volume to The Doors of Perception; during the 1960s, they were reprinted in a single volume, which became an underground classic. An exploration of the relationship between drug-induced states of consciousness and mystical experience. Fine in a near fine, price-clipped dust jacket with modest spine and edge tanning and very slight edge wear.