Catalog 122, G-H
108. GARCÍA MÁRQUEZ, Gabriel. For the Sake of a Country within Reach of the Children. (Bogotá): Villegas Editores (1996). García Márquez's essay on the history, power and potential of Colombia serves as the text for this rich book of photographs. Quarto; fine in a very near fine dust jacket with one small corner bump. The essay was first published as a prologue to a group of studies conducted by the National Commission of Learned Men; it was reissued in book form in 1998 in a smaller format. No comparable U.S. edition.
109. GARCÍA MÁRQUEZ, Gabriel. Love in the Time of Cholera. NY: Knopf, 1988. The limited edition, specially bound on special paper, with decorated acetate dust jacket in decorated slipcase. One of 350 copies signed by the author. His first signed limited edition, and a noteworthy signature as the author was at first prohibited from entering the U.S. because of his associations with Cuban leader Fidel Castro, and later, even after the prohibition was conditionally rescinded, he refused to enter this country on principle. Consequently, his signature is scarce. This edition, which was to have been published simultaneously with the trade edition, was delayed by several weeks due to the logistical difficulties involved with getting sheets to the author for signing, and then back to the U.S. for binding. Fine in acetate dust jacket and slipcase.
111. GARDNER, John. The Resurrection. NY: New American Library (1966). His first work of fiction, one of the handful of significant literary first novels that were published by NAL under the editorship of David Segal. NAL was primarily a paperback publisher, with an emphasis on mass market paperbacks and a strong commercial focus. Publishing such writers as Gardner, William Gass, Cynthia Ozick and Michael Shaara was a fairly daring step; given the scarcity of all of those first novels, it would seem that such publishing daring was at least in part counterbalanced with caution in the form of short print runs: this novel, for example, had a 2500 copy first printing. Signed by the author. Tiny bump to top page edges; still fine in a very near fine dust jacket with one short, closed edge tear and slight fading to the color encircling the author's name on the spine. A beautiful copy of this important first book, seldom found in this condition.
112. GARDNER, John. The Wreckage of Agathon. NY: Harper & Row (1970). Gardner's second novel, after The Resurrection and preceding his more well-known Grendel. Dust jacket blurbs by Stanley Elkin and, notably, William Gass, with whom Gardner had a prominent and public dispute in later years over Gardner's concept of "moral fiction" and the responsibilities that entailed for contemporary authors. Gass became the spokesman for the other side of the issue -- arguing that constraining fiction to the requirements of a particular morality was a counterproductive throwback to earlier days when Art was supposed to serve a recognized higher authority and became thereby little more than official propaganda. However, Gass and Gardner had a long-standing relationship and were quite good friends, notwithstanding the public split over this issue. Gass's presence giving a support notice on this book provides a footnote to the more public quarrel the men had later over a not insignificant question, which still incites controversy. Signed by the author. Fine in a very near fine dust jacket with just a bit of surface dirt on the rear panel.
113. GARDNER, John. Grendel. NY: Knopf, 1971. Probably Gardner's best-known novel, a retelling of the Beowulf saga from the point of view of the monster, Grendel. Chosen by Pringle as one of the hundred best fantasy novels of the postwar era and the book that assured Gardner's literary reputation even before his nomination for the National Book Award for Nickel Mountain and his winning the National Book Critics Circle Award for October Light. Signed by the author. Fine in a fine, unfaded dust jacket and extremely scarce thus, especially signed.
114. -. Same title, the uncorrected proof copy. Fine in tall wrappers with a note from Gardner's editor at Knopf written across the front cover.
115. -. Same title, the first British edition. (London): Deutsch (1972). Owner initials front flyleaf, tiny spot to top edge; else fine in a fine dust jacket.
116. GARDNER, John. Vlemk the Box-Painter. Northridge: Lord John Press, 1979. The limited edition. One of 300 numbered copies signed by the author. Fine in a fine dust jacket.
117. GARDNER, John. Frankenstein. Dallas: New London Press (1979). A libretto, published as a limited edition with an explanatory introduction by the author. One of 250 numbered copies signed by the author. Clothbound; fine without jacket, as issued.
118. GARDNER, John. Rumpelstiltskin. Dallas: New London Press (1979). Another libretto, also published as a limited edition. One of 250 numbered copies signed by the author. Clothbound; fine without jacket, as issued.
119. GARDNER, John. William Wilson. Dallas: New London Press (1979). Again, a libretto, published in an edition of 250 numbered copies signed by the author. Clothbound; fine without jacket, as issued.
120. GARDNER, John. Freddy's Book. NY: Knopf, 1980. The uncorrected proof copy of this novel set up as a novel-within-a-novel and in part based on Nordic literature and legends, a field with which Gardner was familiar as a scholar of Old English literature and its antecedents. Fine in tall wrappers.
121. -. Another copy. Several marginal notes in text; cup ring front cover; near fine in wrappers. With publisher's description and printer's sample pages laid in.
122. GARDNER, John. The Temptation Game. (n.p.): New London Press (1980). Of a total edition of 326 copies, this is one of 300 numbered copies signed by the author. Clothbound; crease to front pastedown from binding; still fine without dust jacket, apparently as issued.
123. GENET, Jean. The Maids and Deathwatch. NY: Grove Press (1954). Two early plays by Genet, introduced by Jean-Paul Sartre. Genet's plays -- several of which could not be performed in France because of their controversial subject matter, and because he was a convicted felon and had been diagnosed as mentally ill -- contributed significantly to the Theater of the Absurd in the early postwar years. Fine in a near fine, spine-tanned dust jacket with light wear at the spine extremities.
124. GIBSON, William. Virtual Light. (London): Viking (1993). The uncorrected proof copy of the true first edition of this novel by the author of the cyberpunk classic Neuromancer. Signed by Gibson. Fine in wrappers.
125. GORDIMER, Nadine. The Soft Voice of the Serpent. NY: Simon & Schuster (1952). The first American edition of this collection of stories, and the South African Nobel Prize winner's first book to be published outside of her native country. Fine in a near fine, internally foxed dust jacket with two edge tears.
126. GORDIMER, Nadine. Six Feet of the Country. NY: Simon & Schuster, 1956. The first American edition of her second collection of stories to be published here. Owner initials front flyleaf; else fine in a near fine dust jacket. A nice copy.
127. HAMMETT, Dashiell. The Creeping Siamese. NY: Dell (1950). The Dell Mapback edition of this collection of Hammett stories selected, edited and introduced by Ellery Queen. Spine slanted and faded; creasing to front spine fold; very good in wrappers.
128. 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. Fine in a near fine dust jacket with a couple tiny edge nicks and creases to the flaps, without the remainder mark that is commonly found on this title.
129. HARRISON, Jim. Legends of the Fall. (NY): Delacorte/Lawrence (1979). The one-volume trade edition of this collection of novellas. Remainder spray and front flyleaf sunned; else fine in a near fine, price-clipped dust jacket.
130. HARRISON, Jim. Warlock. (NY): Delacorte/Lawrence (1981). Remainder spray; else fine in a near fine dust jacket.
131. HELLER, Joseph. Something Happened. NY: Knopf, 1974. The second novel by the author of the landmark book Catch-22. By general consensus, this is a better novel than its predecessor -- in terms of the writing, the plot structure, the extent to which it holds together and "works" as a novel -- if not so ground-breaking a success as his first book was. Nominated for the National Book Award. Remainder mark; else fine in a near fine dust jacket.
132. HELLER, Joseph. Good as Gold. NY: Simon & Schuster (1979). The limited edition of his third novel. One of 500 numbered copies signed by the author. Fine in a near fine slipcase.
133. 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 his winning the Nobel Prize for Literature in 1954. Offsetting to endpages, minor mottling to boards; a near fine copy in a good, spine-tanned, first issue dust jacket with faint dampstaining and some abrasions to the rear panel and chipping to the spine extremities.
134. -. Same title, the limited edition. One of 510 numbered copies signed by the author. A little foxing to the spine base; else fine in the publisher's fragile slipcase, which has been internally repaired along one seam. Hemingway's only signed limited edition, an attractive production, and an especially well-preserved copy.
135. HEMINGWAY, Ernest. Winner Take Nothing. NY: Scribner, 1933. Hemingway's third collection of stories, published at the height of his acclaim, and including the first book appearance of the classic, "A Clean Well-Lighted Place." A fine copy in a near fine dust jacket with two unobtrusive edge tears and a hint of wear to the crown of a faintly tanned spine. One of the nicer copies we've seen of this book which, because of its black, unlaminated dust jacket, usually shows a great deal of rubbing and wear. A very crisp copy.
136. HEMINGWAY, Ernest. Green Hills of Africa. NY: Scribner (1935). His second book of nonfiction, an account of a month-long hunting trip to Africa which he wrote "to see whether the shape of a country and the pattern of a month's action can, if truly presented, compete with a work of the imagination." Sunning to spine cloth as is typical with this title, although perhaps a bit less than usual; mild foxing to top edge; a near fine copy in a jacket with a bit of rubbing on the front panel and foxing to spine, but with less fading to the spine than this book usually has; about near fine. Overall an attractive copy.
137. HEMINGWAY, Ernest. To Have and Have Not. NY: Scribner, 1937. A novel about a reluctant Caribbean gun runner, which brought the author criticism 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. Basis for the 1944 movie with Humphrey Bogart and Lauren Bacall with a screenplay by William Faulkner. Slight spine slant; very near fine in a very good dust jacket with minor rubbing but with a tear to the lower spine fold that affects the "H" of Hemingway on the front panel.
138. HEMINGWAY, Ernest. Across the River and Into the Trees. NY: Scribner, 1950. Hemingway's last full-length novel to be published in his lifetime. It had been a decade since his previous novel, For Whom the Bell Tolls, had partly redeemed the author's fading reputation, and publication of this book was eagerly awaited by the literary world. However, despite its being a bestseller for 21 weeks (with 7 weeks at #1), the novel was thoroughly savaged by the critics, who used such phrases as "a thoroughly bad book," "Hemingway at his worst," and "a synthesis of everything that is bad in his previous work [which] throws a doubtful light on the future." Long owner inscription on the recto of the list of Hemingway's previous books; a near fine copy in a fair, first state dust jacket with several significant chips that have been internally repaired, but not restored, with rice paper.
139. -. Another copy. A little loss to spine gilt; near fine in a good, second state dust jacket with heavy internal tape repair, although only a couple small chips and creasing are outwardly visible.
140. HEMINGWAY, Ernest. The Old Man and the Sea. NY: Scribner, 1952. The last of Hemingway's books published in his 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. Cloth a bit dusty; else fine in a very near fine dust jacket with a small tear at the lower spine. The dust jacket is what has commonly been called the "second state" with the Hemingway photo in olive, not blue, tones although that designation has long been suspect: Carter defines states as differences that exist prior to publication, which essentially precludes assigning priority to them (in his estimation: he prefers to identify them as "variants" of equivalent, or at least non-discernible priority). And the fact that the blue-tinged photo turns up not only on copies of the first printing but on copies of later printings suggests that Carter's designation is appropriate: they are variants but ones to which no certain priority can be assigned. That being said, this is an extraordinarily attractive copy, far nicer than most that appear on the market.
141. HEMINGWAY, Ernest. A Moveable Feast. NY: Scribner (1964). A review copy of this posthumously published account of Hemingway's times in Paris in the Twenties. Slight splaying to the boards but still a fine copy in a near fine dust jacket with only slight rubbing at the spine extremities. A very nice copy, and scarce as an advance copy.
142. HEMINGWAY, Ernest. Islands in the Stream. NY: Scribner (1970). A review copy of this posthumously published novel. A few notes written on verso of the review slip. Fine in a fine dust jacket and, although a common book, surprisingly uncommon thus, especially as a review copy.
143. HEMINGWAY, Ernest. The Dangerous Summer. NY: Scribner (1985). Introduction by James Michener. Fine in a dust jacket with one small wrinkle at the lower edge of the rear panel.
144. HEMINGWAY, Ernest. The Garden of Eden. London: Hamish Hamilton (1987). The first British edition. Fine in a fine dust jacket.
145. HERSEY, John. A Bell for Adano. NY: Knopf, 1944. His third book and first novel, a war story of American soldiers occupying a small Italian town during World War Two. Winner of the Pulitzer Prize. Fine in a near fine, price-clipped dust jacket with just a few short edge tears. Not an uncommon book but, because of the wartime restrictions on paper manufacturing and usage and the resulting cheap production values for books during the war, quite scarce in fine condition.
146. HESSE, Hermann. Steppenwolf. NY: Henry Holt (1929). The first American edition of the Nobel Prize winner's classic novel of the dark side of an artistic personality. The book is very near fine; the jacket only good, with several small edge chips and longer edge tears, internally tape-mended. An important book that seldom turns up in any dust jacket at all.
147. HESSE, Hermann. Demian. London: Peter Owen/Vision Press (1958). The first British edition of this book originally published in English in the U.S. in 1923. Small bookseller label under front flap; boards a trifle edge-sunned; else fine in a near fine dust jacket with mild foxing to the rear panel and a bit of rubbing to the spine.
148. HESSE, Hermann. The Glass Bead Game. (Magister Ludi). NY: HRW (1969). The first edition of this new translation of the book that some consider Hesse's masterwork, re-published at the height of the resurgence of his popularity during the late Sixties, with a Peter Max-like psychedelic dust jacket design. Das Glasperlenspiel was originally published in Germany in 1943, and it is widely credited with being the book that earned Hesse the Nobel Prize, which he won in 1946. It was translated into English in 1950 and then re-translated for this edition in the late Sixties. The Glass Bead Game is a utopian novel set in the distant future, in which an elite group of adepts rise to greater levels of perfection in a symbolic bead game that incorporates all the knowledge of the ages, "the total contents and values of our culture" while shunning the actual world. Fine in a near fine, price-clipped dust jacket internally tape-strengthened at the crown.
149. HILLERMAN, Tony. Dance Hall of the Dead. (NY): Armchair Detective Library (1991). A limited edition of his fourth book and his second mystery featuring Navajo tribal detective Joe Leaphorn, first published in 1973 and then winner of the Edgar Award for Best Mystery Novel of the Year. Of a total edition of 126 copies, this is #4 of 100 numbered copies signed by the author. With a new introduction by Hillerman for this edition. Fine in slipcase.
150. HURSTON, Zora Neale. I Love Myself When I Am Laughing. Alice Walker, ed. (Old Westbury): Feminist Press (1979). A Zora Neale Hurston reader, edited by Alice Walker and with a four-page "dedication" by her. This book incited a resurgence of interest in Hurston who, as an independent-minded black woman writer in the period of the Harlem Renaissance, had to overcome substantial obstacles to pursuing her literary career. That she succeeded as well as she did enabled a later generation of black women writers, including Walker herself, Toni Morrison, Paule Marshall, Gloria Naylor, Terry McMillan and others to follow the path she blazed. This book was issued simultaneously in wrappers and in a very small hardcover edition. This is the hardcover issue and is near fine in a very good, spine-faded dust jacket with a couple short edge tears and a small spot and some rubbing to the front panel.