Catalog 126, I-K
169. IRVING, John. The World According to Garp. NY: Dutton/(Funk & Wagnalls) (1978). The remaindered edition of the author's fourth novel, in a smaller format than the first edition and distributed by Funk & Wagnalls. Remainder mark to top edge; else fine in a fine dust jacket. Inscribed by the author in Iowa City in 1982. Irving graduated from the famed Iowa Writers' Workshop in 1967 and was Writer-in-Residence at the university from 1975-79. An unusual edition, indicative of the extraordinary popularity Garp enjoyed: few contemporary novels since the 1960s have had been published and distributed in "remainder" editions -- really a whole new edition, and not the remainder of the publisher's edition, as is the usual case. Signed copies of Garp, in any edition, are quite uncommon
170. -. Same title. NY: Modern Library (1998). First Modern Library edition, with a new introduction by the author in which he discusses his own son's reading of the novel. Fine in a fine dust jacket. Uncommon.
171. IRVING, John. The Hotel New Hampshire. NY: Dutton (1981). Irving's first book after the success of The World According to Garp and, like Garp, made into a movie. Inscribed by the author to novelist Robert Penn Warren: "To Red -- / John Irving." Mild indent upper spine; near fine in a near fine, lightly edge-sunned dust jacket. Text block measures 1 3/8" across. An excellent literary association copy. Books signed by Irving are somewhat uncommon, especially as he has mostly declined to sign books at all in recent years. Good association copies are extremely rare.
172. -. Another copy. Inscribed by the author in Iowa City to the President of Dartmouth College, in New Hampshire. Fine in a fine dust jacket. Text block measures 1 1/4" across.
173. IRVING, John. The Cider House Rules. (n.p.): (n.p.), (n.d.). Printer copy of Irving's Academy Award-winning screenplay from his novel of the same name. Clean copy, 3-hole punched and bradbound with title written on spine. Slight creasing to cover; else fine. This copy is signed by Michael Caine, who won an Oscar of his own for the role of Larch. Never published in this format, this copy came from the library of Michael Caine; we have never seen another one offered for sale.
174. IRVING, John. A Prayer for Owen Meany. NY: Morrow (1989). The first trade edition of what may be Irving's best-loved book (a substantial claim for a book by the author of The World According to Garp); basis for the movie Simon Birch. Fine in a fine dust jacket.
175. IRVING, John. My Movie Business. NY: Random House (1999). Irving's account of his career involvement with the movies, from thirteen years of working on the screenplay for The Cider House Rules (for which he won an Oscar) to trying, unsuccessfully, to get his first novel, Setting Free the Bears, made into a film. Signed by the author on a tipped-in leaf. Fine in a fine dust jacket.
176. IRVING, John. The Fourth Hand. NY: Random House (2001). His most recent novel. Signed by the author. Irving, who has been reluctant to sign books in recent years, did a very small number of readings from this book at which he signed copies. Perhaps his scarcest trade edition signed. Fine in a very near fine dust jacket with two tiny sticker removal scrapes on the front panel.
177. JOYCE, James. Finnegans Wake. London: Faber & Faber (1939). Joyce's final novel, considered by many to be his best work, a culmination of the experimentation with language and structure that he had begun with Ulysses. Together, the two volumes decisively influenced all subsequent fiction, by their use of language, interior monologue, stream-of-consciousness and, most importantly, by their intent to broaden the subject of the novel to encompass the widest range of human activity and knowledge. Some offsetting to prelims and last page of text; near fine in a very good, price-clipped dust jacket inexpertly repaired at the corners and spine extremities. In a custom clamshell case.
178. JOYCE, James. Exiles. NY: Viking, 1951. A limited reissue of Joyce's only published play, written the year after his first collection of stories, Dubliners, was published. The play was staged unsuccessfully in Munich in 1918 and not performed in England until 1926, by which time Joyce was already widely recognized as a major literary figure -- which was not the case at the time of its original publication. This edition includes previously unpublished notes by Joyce, discovered after his death, and an introduction by Padraic Colum. One of 1900 copies. Fine in a fine dust jacket, and quite scarce thus.
179. KENNEDY, William. Billy Phelan's Greatest Game. NY: Viking (1978). The second book in his acclaimed Albany sequence and, in our experience, the most difficult one to find these days in attractive, collectible condition. Signed by the author. Small tape shadows to front endpages where, for unknown reasons, the front flap was at one time taped to the pastedown; else fine in a near fine, lightly rubbed and price-clipped dust jacket.
180. KENNEDY, William. Ironweed. (NY): Viking (1983). The third book in his Albany sequence. Winner of the Pulitzer Prize and the National Book Critics Circle Award. Inscribed by the author. Fine in a fine dust jacket.
181. KENNEDY, William. The Ink Truck. (NY): Viking (1984). The reissue of his first book, originally published in 1969. Inscribed by the author "on the occasion of our visit to Iowa U's workshop." Fine in a fine dust jacket.
182. (KENNEDY, William). "The Gut: Our Boulevard of Bluest Dreams" in Gates to the City. The Albany Tricentennial Anthology. (Albany): (Albany Tricentennial Commission) (1986). A collection of Albany literature. Kennedy's piece is reprinted from O Albany! Also includes "Mayor Schuyler and the Mohican" by Joseph Bruchac. Fine in wrappers.
183. KEROUAC, Jack. A Pun for Al Gelpi. Harvard Yard: Lowell House, 1966. A broadside of a parable involving Jesus and an apricot tree. One of 100 numbered copies signed by Kerouac. The first appearance of this poem, and its only appearance during Kerouac's lifetime. 6" x 19" and illustrated with a two-color block print by Nicole Hollander. The bibliography incorrectly lists the dimensions as 6" x 9" and omits the signature, suggesting that the bibliographer may not have seen a copy. Faint production crease in one margin; still fine.
184. -. Another copy. Also signed by the author. Permanently mounted and then attractively matted and framed. Fine.
185. KESEY, Ken. One Flew Over the Cuckoo's Nest. NY: Viking (1962). Kesey's landmark first book, a pivotal novel of the literature of the Sixties, which helped to shape a generation's attitudes on issues of authority, power, madness and, finally, individuality. The early printings of the U.S. edition contain text that was later excised and changed after a lawsuit was brought against Kesey and his publisher by a woman who was a nurse at the institution which Kesey used as a model for the novel; she charged him with portraying a character that was based on her (and had the same first name) in a disparaging manner. The character was rewritten after the third hardcover printing, and later editions, including the mass market paperback and the "definitive" text in the Viking Critical Library Series, have an alternate character in her place. Top stain mildly faded; fine in a very good dust jacket with light chipping at the spine extremities and two internally-mended edge tears. The spine is faded, but much less than is typical. Overall a very nice copy.
186. KIDDER, Tracy. The Soul of a New Machine. Boston: Little Brown (1981). His second book, winner of the Pulitzer Prize and the National Book Award for nonfiction. Kidder spent a year with a design team at Data General, chronicling the process of designing a new minicomputer, and recounted the tale in lucid, accessible prose which opened up this normally invisible aspect of the contemporary world of high technology and industry to a wide readership. He followed a similar pattern in his later books, which have focused on such seemingly mundane subjects as the building of a house, a year in the life of a schoolteacher, and growing old in a nursing home. A little fading to spine ends and slight text pull; very near fine in a near fine, mildly spine-sunned dust jacket with a small tear at the upper front flap fold. A shining example of the kind of "literary journalism" that grew out of the New Journalism of the 1960s, and the breakdown of the stylistic barriers between journalism and the more literary forms.
187. KINGSTON, Maxine Hong. The Woman Warrior. NY: Knopf, 1976. Her first book, a highly praised coming-of-age memoir which was also a substantial commercial success, being reprinted a number of times very quickly and being selected by Book of the Month Club. Subtitled "Memoirs of a Girlhood Among Ghosts," it eloquently explored the cultural conflicts faced by Chinese-Americans, a subject that Amy Tan later developed in her bestselling novel, The Joy Luck Club. Inscribed by the author. Fine in a fine dust jacket.
188. KINGSTON, Maxine Hong. To Be the Poet. Cambridge: Harvard University Press, 2002. The advance reading copy (marked "uncorrected page proofs") of her 2000 William E. Massey Lectures at Harvard. Fine in wrappers.
189. KINNELL, Galway. Black Light. Boston: Houghton Mifflin, 1966. The poet's first, and only, novel. Inscribed by the author in 1995. Fine in a fine dust jacket. A very attractive copy.
190. -. Another copy. A review copy. Inscribed by the author in 1995. Fine in a very near fine dust jacket with one tiny tear at the spine base.
191. KINNELL, Galway. First Poems, 1946-1954. Mt. Horeb: Perishable Press, 1970. Issued in an edition of 150 copies, this is one of 40 hors commerce author's copies. Inscribed by the author in 1995. Attractively bound in quarter green morocco and marbled paper boards, hand-printed on Shadwell paper, a beautiful example of craftsmanship from this important small, fine press. Fine without dust jacket, as issued.
192. KINNELL, Galway. The Book of Nightmares. Boston: Houghton Mifflin, 1971. A single book-length poem, which is considered one of Kinnell's masterpieces. Nominated for the National Book Award. This is the hardcover issue; there was a simultaneous paperback. Signed by the author on the front free endpaper and additionally inscribed by him on the title page in 1996. Fine in a very near fine dust jacket with a small bump at the spine base.
193. KINNELL, Galway. The Avenue Bearing the Initial of Christ into the New World. Boston: Houghton Mifflin, 1974. A collection of poems spanning the years 1946-1964. Inscribed by the author in 1995, with a photograph of the author and the recipient laid in. Fine in a faintly spine-sunned dust jacket.
194. KINNELL, Galway. Mortal Acts, Mortal Words. Boston: Houghton Mifflin, 1980. Poetry, this being the hardcover issue. Inscribed by the author in 1995. Fine in a fine dust jacket.
195. KINNELL, Galway. The Last Hiding Places of Snow. (NY): Red Ozier Press, 1980. One of 150 numbered copies signed by the author and artist. Attractively printed on handmade paper; a very nice fine press production, with wood engravings by Barry Moser. Fine without dust jacket, as issued.
196. KINNELL, Galway. Angling, A Day. Concord: Ewert, 1980. A limited edition of this collection of poems. Of a total of 176 copies, this is one of 26 lettered copies signed by the author. This copy is additionally inscribed by Kinnell "with love." Fine in self-wrappers.
197. -. Another copy. One of 26 lettered copies, unsigned on the colophon but inscribed by Kinnell. Fine in self-wrappers.
198. KINNELL, Galway and WAKOSKI, Diane. Two Poems. (n.p.): Red Ozier, 1981. A small New Year's greeting from the Press, one of 200 copies hors commerce. One poem by Kinnell and one by Wakoski, with a Barry Moser wood engraving. Signed by Kinnell and Wakoski. This copy is additionally inscribed by Kinnell in 1996. Fine in saddle-stitched wrappers.
199. KINNELL, Galway. Selected Poems. Boston: Houghton Mifflin, 1982. The hardcover trade issue of this collection of poems that won both the National Book Award and the Pulitzer Prize for poetry. Inscribed by the author in 1995, with a photograph of the author and the recipient laid in. Fine in a very near fine dust jacket with trace rubbing at the spine ends.
200. KINNELL, Galway. How the Alligator Missed Breakfast. Boston: Houghton Mifflin, 1982. The poet's first children's book, illustrated by Lynn Minsinger. Signed by the author. Fine in a near fine dust jacket.
201. -. Another copy. Inscribed by the author in 1995. Lightly bowed, else fine in a near fine dust jacket with one spot of internal tape strengthening.
202. KINNELL, Galway. Thoughts Occasioned by the Most Insignificant of All Human Events. Concord: Ewert, 1982. A limited edition printing an essay that first appeared in New York University's events calendar, Pleasures in Learning (see below). One of 150 numbered copies signed by the author. This copy is additionally inscribed by Kinnell. Fine in saddle-stitched wrappers.
203. KINNELL, Galway. The Hen Brooding. (n.p.): University of New Hampshire, 1982. A small broadside poem, with an illustration by Joann Brady. Of a total edition of 350 copies, this is one of 100 numbered copies signed by the author. 8 1/2" x 5 1/2". Fine.
204. KINNELL, Galway. The Music Box. (Concord): (Ewert) (1983). A single poem. Of a total edition of 136 copies, this is designated as an "author's copy" and is signed and additionally inscribed by the author. Fine in saddle-stitched wrappers.
205. KINNELL, Galway. Christmas Greetings 1983. (n.p.): (Michael, Dianne, Brent, and Alysia Peich) (1983). Kinnell's poem "To Christ Our Lord," used as a Christmas greeting by the Peich family, with a cover wood engraving by John DePol. Signed by Kinnell. Fine.
206. KINNELL, Galway. Remarks. Concord: Ewert, 1984. Kinnell's remarks on accepting the American Book Award for Poetry the previous year. One of 115 numbered copies signed by the author. This copy is additionally inscribed by Kinnell in 1995. Fine in double-folded saddle-stitched wrappers.
207. KINNELL, Galway. The Fundamental Project of Technology. (Boston): (Houghton Mifflin) (1984). The Phi Beta Kappa poem, presented at the Harvard University Commencement in 1983. A single sheet, folded into booklet form. Signed by the author. Fine.
208. -. Another copy. Signed by the author and additionally inscribed in 1997. Fine.
209. KINNELL, Galway. The Past. Boston: Houghton Mifflin, 1985. The limited edition. One of 200 numbered copies signed by the author. Fine in a fine slipcase.
210. -. Another copy of the limited edition. One of 200 numbered copies signed by the author. This copy is additionally inscribed by the author in 1996. Fine in a fine slipcase.
211. -. Same title, the second printing of the trade edition. Inscribed by the author in 1995, with a photograph of the author and the recipient laid in. Fine in a fine dust jacket.
212. KINNELL, Galway. The Seekonk Woods. Concord: Ewert, 1985. An attractive volume printing the first appearance of the title poem by Kinnell as well as three 8" x 10" photographs by famed photographer Lotte Jacobi, printed from the original negatives. A fine production, printed at the Janus Press for William Ewert. One of 155 numbered copies signed by the author and by Lotte Jacobi. Additionally, this copy is inscribed by Kinnell "at the pleasure of your visit to Sheffield." Fine without dust jacket, as issued.
213. KINNELL, Galway. The Auction. Concord: Ewert, 1989. Printed in an edition of 30 numbered copies in wrappers, this is designated as an author's copy and is signed by the author and by Mary Azarian, who provided the woodcuts. Fine in oblong, saddle-stitched wrappers.
214. KINNELL, Galway. When One Has Lived A Long Time Alone. NY: Knopf, 1990. The hardcover issue of this collection of poetry. Signed by the author on the front free endpaper and additionally inscribed by him on the title page in 1997. Fine in a fine dust jacket.
215. -. Same title, the uncorrected proof copy. Inscribed by the author in 1995. Fine in wrappers.
216. KINNELL, Galway. 3 Books. Boston: Houghton Mifflin, 1993. Collects Body Rags, Mortal Acts, Mortal Words and The Past. Inscribed by the author in 1995, with a photograph of the author and the recipient laid in. Dampstaining to lower cloth on rear cover; near fine in a near fine dust jacket with the dampstaining mostly visible on verso.
217. KINNELL, Galway. Imperfect Thirst. Boston: Houghton Mifflin, 1994. Inscribed by the author in 1995. Fine in a fine dust jacket.
218. KINNELL, Galway. The Burn. (Anchorage): (Salmon Run Press) (1995). The ninth pamphlet in the Salmon Run Pamphlet Series One. One of 100 numbered copies signed by the author. This copy is additionally inscribed by Kinnell. Fine in saddle-stitched wrappers.
219. KINNELL, Galway. 1997 Commencement Address. Louisville: Bellarmine College, 1997. A six-page essay by Kinnell. Signed and additionally inscribed by the author. One tiny spot, else fine in stapled wrappers. Laid in is an autograph postcard signed; fine.
220. (KINNELL, Galway). "Thoughts Occasioned by the Most Insignificant of All Human Events" in Pleasures in Learning, Vol. VII, No. 1. (NY): New York University, 1959. A seven-page essay by Kinnell in a 12-page pamphlet issued monthly by New York University listing its calendar of events. The text concerns Kinnell's reaction to having his first book of poems, What a Kingdom It Was, accepted for publication. This copy is signed by Kinnell. A very early appearance in print by Kinnell. Fine in stapled wrappers.
221. (KINNELL, Galway). The Poems of François Villon. Boston: Houghton Mifflin, 1977. Translated by Kinnell and with an introduction and notes by him. Signed and additionally inscribed by Kinnell (in French) on the title page. Laid in is a thank you note written by Bobbie but signed by both Bobbie and Galway. The card is fine; the book is fine in a very near fine dust jacket.
222. (KINNELL, Galway). The Essential Rilke. (Hopewell): Ecco Press (1999). Translations by Kinnell and Hannah Liebmann. Inscribed by Kinnell in the year of publication. Fine in a fine dust jacket.
223. KUSHNER, Tony. Angels in America. (NY): Theater Communications Group (1993, 1994). Two volumes: Millennium Approaches and Perestroika. Volume one, which won the Pulitzer Prize for drama in 1993, is a later printing. Both volumes are fine in fine dust jackets and are housed together in a custom slipcase.