Catalog 126, D-F
86. DELILLO, Don. Ratner's Star. NY: Knopf, 1976. His fourth novel, which uses the framework of a boy genius decoding a signal sent from a star to examine issues of information: DeLillo's personal favorite of his first six books. Fine in a fine dust jacket.
87. DELILLO, Don. Players. NY: Knopf, 1977. His fifth novel. Signed by the author. Fine in a near fine dust jacket with trace wear at the corners and a crease on the front flap. While not as legendarily reclusive as Pynchon or Salinger, DeLillo seldom does the kinds of author tours at which a writer will give a reading and sign hundreds of copies of his books, and his signature is quite uncommon for a modern author.
88. DELILLO, Don. Running Dog. NY: Knopf, 1978. Fine in a near fine dust jacket internally tape-strengthened at the crown and with a corner crease on the front flap.
89. DELILLO, Don. The Names. NY: Knopf, 1982. Classic DeLillo, a novel that throws into sharp relief the individual, the family, and language, amid the vagaries of international events. Near fine in a fine, price-clipped dust jacket.
90. -. Another copy. Top stain faded to white, thus near fine in a near fine dust jacket.
91. DELILLO, Don. White Noise. (NY): Viking (1985). Winner of the National Book Award, an award for which DeLillo has been nominated for twice since. Fine in a near fine dust jacket with a hint of spine-tanning.
92. DELILLO, Don. Libra. (NY): Viking (1988). His highly praised novel of the events leading up to the Kennedy assassination. Nominated for the National Book Award. Fine in a fine dust jacket with none of the typical spine fading.
93. DELILLO, Don. Underworld. (NY): Scribner (1997). His masterwork. Winner of the William Dean Howells Award for the best work of fiction published in the U.S. over a five-year period. Nominated for the National Book Award. Fine in a fine dust jacket.
94. (DELILLO, Don). The Jerusalem Prize for the Freedom of the Individual in Society. (Jerusalem): (Caspit Press/The Jerusalem International Book Fair) (1999). A pamphlet printed in tribute to DeLillo on the occasion of his accepting the Jerusalem Prize -- DeLillo being the first American so honored. Contains his acceptance address, "A History of the Writer Alone in a Room," a short, powerful meditation on writing and writers and their place in our culture and consciousness, imbued with DeLillo's characteristic honesty and dark humor. Fine in stapled wrappers.
95. (DELILLO, Don). Critical Essays on Don DeLillo. NY: G.K. Hall (2000). Two dozen reviews of and essays on DeLillo's work, including four written for this collection. Hardcover; near fine without dust jacket, as issued.
96. DIAMANT, Anita. The Red Tent. NY: St. Martin's (1997). A well-received historical novel. Inscribed by the author "with gratitude" to a representative of her British publisher. Fine in a fine dust jacket.
97. DUNNING, John. "The tower shimmered in the heat, a living thing." Salt Lake City: Ken Sanders, 2003. A broadside, printing an unpublished page from the manuscript Two O'Clock Eastern Wartime. One of 100 numbered copies signed by the author and printed on the occasion of the opening of the new Salt Lake City Public Library, in February 2003. 11" x 15 1/4". Fine.
98. DUBUS, Andre. Jolie, La Fille! (Arles): Actes Sud (1986). A French-language appearance of the story "The Pretty Girl," and its first separate publication in any language. Near fine in wrappers.
99. (EGGERS, Dave). Timothy McSweeney's Blues/Jazz Odyssey? (Brooklyn/ Iceland): (McSweeney's), 1999. Also known as Pollyanna's Bootless Errand or McSweeney's #2 (Late Winter/Early Spring, 1999). An early, now-scarce edition of perhaps the most influential literary magazine/anthology to emerge in the last decade or more. Includes work by Eggers, Jonathan Lethem, David Shields, Neal Pollack, Sarah Vowell, John Hodgman, and others. Sticker removal scratches in upper outer corner of front cover; else fine in wrappers.
100. (EGGERS, Dave). Timothy McSweeney's Quarterly Concern #8. (Brooklyn/Iceland): (McSweeney's) (2002). Rick Moody, J. Robert Lennon, Ben Marcus, Rachel Cohen, Monique Dufour, Lawrence Weschler, Gilbert Sorrentino, Aleksandar Hemon, and many others. One slight corner bump; else fine, without dust jacket, as issued.
101. (EGGERS, Dave). McSweeney's Mammoth Treasury of Thrilling Tales. (Brooklyn/Iceland): McSweeney's (2003). Issue #10 of McSweeney's Quarterly, edited by Michael Chabon and including short stories by both "mainstream" writers and "genre" writers including Eggers, Elmore Leonard, Nick Hornby, Rick Moody, Chris Offutt, Stephen King, Michael Crichton, Sherman Alexie and others -- the purpose of the anthology being in part, according to the editor's introduction, to remove the line separating the acceptably mainstream from the ghettoized genre, and to restore an appreciation of the short story, of whatever content, as being the form most suitable to the moment of epiphany that defines great literature and the power and possibility of good writing. Fine in wrappers.
102. FERLINGHETTI, Lawrence. An Artist's Diatribe. (San Diego): Atticus Press, 1983. An essay on the responsibility of the artist in contemporary society, by one of the foremost figures of the Beat generation and the founder of City Lights bookstore and publishing company, both of them landmarks of the American literary scene of the second half of the 20th century. One of 100 numbered copies signed by the author. Fine in saddle-stitched wrappers.
103. FORD, Richard. "A parent's view of what's wrong or right with his kid..." Memphis: Burke's Book Store/Wing and Wheel, 1995. A broadside excerpt from Independence Day. One of 75 numbered copies signed by the author. 7 1/8" x 12 1/2". Uncommon: we have only seen this broadside once before. Fine.
104. FORD, Richard. Under the Radar. London: Harvill Press (2001). The first separate appearance of this story, which first appeared in The New Yorker and is here published as an advance reading excerpt from the collection A Multitude of Sins, with small textual variations from the final, published version. No comparable U.S. issue. Fine in stapled wrappers.
105. FORD, Richard. A Multitude of Sins. NY: Knopf, 2002. The first American edition of this collection of stories, which was published in England the previous year. Signed by the author. Fine in a fine dust jacket.
106. (FORD, Richard). Writers Dreaming. NY: Carol Southern Books (1993). Twenty-six writers talk to dream researcher Naomi Epel about their dreams and the creative process. Writers include Richard Ford, Reynolds Price, Sue Grafton, Robert Stone, Maya Angelou, Elmore Leonard, John Nichols, John Sayles and others. This copy is signed by Ford, Price and Grafton. Fine in a fine dust jacket.
107. (FORD, Richard). The Fights. San Francisco: Chronicle Books (1996). Photographs of boxers by Charles Hoff, with essays on boxing (by James Baldwin, A.J. Liebling, and others) selected by Richard Ford and with an introduction ("In the Face") by Ford. Quarto; fine in a fine, price-clipped dust jacket with errata slip laid in. Signed by Ford.
108. -. Another copy. Signed by Ford. Fine in a near fine, price-clipped dust jacket with an edge tear at the upper rear spine fold.
109. FOWLES, John. The Magus. London: Blazer Films, 1967. Fowles' screenplay of his second novel, set on a Greek island and involving a young expatriate Englishman who is drawn into the fantastic designs of a self-styled psychic. The film, with Anthony Quinn, Michael Caine, Candice Bergen and Anna Karina, gained a cult following in the Sixties in spite of (and perhaps partly because of) harsh critical reviews. Fowles wrote the screenplay for the film adaptation of his novel, and the entire production was an ambitious one: the cast included two of the most well-known male leads of their time (Quinn & Caine), an up-and-coming young actress who had been nominated for a "Most Promising Newcomer" Golden Globe two years earlier (Bergen), and Anna Karina, a staple in the films of French avant garde director Jean-Luc Godard. The director was Guy Green, a former cinematographer, and while the material may have been a bit much for Green, whose previous movies had been more straightforward than the complicated, partly fantastic plot that Fowles' novel presented him with, the film was nominated for a British Academy award for cinematography. (The novel was recently chosen as one of the best 100 novels of the 20th century.) This script bears the name of David Harcourt and has revision sheets dated September 4, 7 and 12, and November 25, 1967. Harcourt is listed as a camera operator on a production schedule (laid in) dated August 15, 1967. Also laid in is the shooting schedule for November 11. These sheets are torn and sunned; the script itself is near fine and claspbound in very good red covers. An early, complete piece of writing by Fowles -- his first novel had been published four years earlier -- and perhaps the scarcest item in his bibliography. We have never heard of another copy turning up; it is Fowles' only screenplay to have been produced, as best we can tell, and the best "scout" of this sort of material that we know said he had never seen one before in over 30 years of looking.
110. FOWLES, John Introduction: Remembering Cruikshank. (Princeton): (Princeton University Library Chronicle) (1964). An offprint from the Chronicle, reportedly fewer than fifty copies printed for the author's use. Signed by Fowles. An early, scarce Fowles "A" item. Fine in stapled wrappers.
111. -. Another copy. Signed by the author. Shallow edge-sunning; near fine in stapled wrappers.
112. FRANZEN, Jonathan. The Corrections. London: Fourth Estate (2002). The first British edition of his National Book Award-winning novel. Fine in a fine dust jacket.