Catalog 132, C-D
42. CALVINO, Italo. The Path to the Nest of Spiders. London: Collins, 1956. The first English-language edition of Calvino's first book, translated from the Italian by Archibald Colquhoun. Inscribed by Colquhoun in the year of publication. Small corner bumps; a near fine copy in a very good dust jacket with a bit of spine fading, tiny corner chips, and a small creased edge tear. Very scarce.
43. CAREY, Peter. My Life as a Fake. (Sydney): (Random House Australia) (2003). The "First Chapter Limited Proof," a limited edition: one of 150 numbered copies of the uncorrected proof of the first edition, printing only the covers and the first chapter, with the remaining pages blank. The earliest state of this novel by the two-time Booker Prize winner, and an extremely small limitation. Signed by the author. Fine in self-wrappers, with publisher's complimentary card laid in.
44. -. Same title. (London): Faber and Faber (2003). The advance reading copy of the first British edition. Fine in wrappers.
45. CARROLL, Jim. River Jordan. (n.p.): Privately Published . A broadside poem by the author of The Basketball Diaries, among others. Of a total edition of 150 copies, this is one of 75 numbered copies signed by the author. 7 3/4" x 15". Fine.
46. CARVER, Raymond. Winter Insomnia. (Santa Cruz): (Kayak Books) (1970). The scarce white variant issue of Carver's second book, a collection of poetry published in an edition of 1000 copies, attractively designed and printed by George Hitchcock, with prints by Robert McChesney. Most commonly found bound in yellow wrappers; William Stull's checklist notes that "at least two copies were issued in a variant binding of white wrappers," although we are now aware of four such copies in existence. This copy is signed by Carver and additionally inscribed by Carver to Doug Blazek "with admiration and warm wishes." A nice association: Blazek was a poet in his own right, and also the founder of the influential mimeograph literary magazine, Olé, which published such writers as Charles Bukowski and Harold Norse in the early 1960s. Blazek was probably considerably more well-known than Carver at the time this book was published and Carver inscribed it to him. A couple light marginal smudges in text; a hint of edge-sunning to the front spine fold; still a bright, very near fine copy. An extremely scarce variant of Carver's first regularly published book, with a good association.
47. CARVER, Raymond. Will You Please Be Quiet, Please? NY: McGraw-Hill (1976). Carver's first collection of stories, which was nominated for the National Book Award and was the first book to bring him recognition beyond the small circle of literary insiders familiar with his work from the quarterlies and his small press volumes. These stories provoked a trend of "minimalist" writing that, for a time, was the dominant mode in American short fiction. And while Carver's stories never strove for nor attained the kind of "pure" minimalism that others embodied -- and minimalism itself faded into literary obscurity -- Carver reinvigorated the short story form as no other American writer had since Hemingway, with a spare and resolute voice that could not be dismissed. Small bump near the base of the spine and a tiny nick to jacket there; still fine in a very near fine dust jacket. One of the most important books of fiction of the 1970s.
48. -. Another copy. One corner tapped; still fine in a near fine dust jacket with faint sunning to top edge and two tiny edge tears at the crown.
49. -. Another copy. Very near fine in a near fine, price-clipped dust jacket.
50. CARVER, Raymond. Fires. Santa Barbara: Capra Press, 1983. The limited edition of this Carver retrospective, published by his early small press publisher, Capra, on the heels of his breakthrough to widespread recognition, substantial critical acclaim and modest commercial success. It includes previously uncollected essays and poems, as well as early versions of stories that appeared in modified form in his other collections. Published in hardcover and paperback simultaneously, with two issues of the hardcover -- a signed limited edition and an unsigned "trade" edition, which may have, in fact, been nothing more than a print overrun of the limited edition, issued without the signed colophon leaf. It was also published in an expanded version by Vintage the following year. This is the limited edition, one of 250 numbered copies in red boards, signed by the author. Fine, in the publisher's acetate dustwrapper, which is cloudy and slightly wrinkled.
51. CASEY, John. Spartina. NY: Knopf, 1989. His third book, winner of the National Book Award. Fine in a fine dust jacket.
52. CHEEVER, John. The Wapshot Chronicle. NY: Harper & Brothers (1957). His third book and first novel, winner of the National Book Award. Signed by the author. Small bump upper rear board edge; else fine in a very near fine dust jacket with the slightest of tanning to the spine lettering. A beautiful copy of a book that seldom turns up in this condition, let alone signed.
53. CLAMPITT, Amy. Multitudes, Multitudes. NY: Washington Street Press (1973). Her first book, published a decade before her acclaimed first "full-length" collection, The Kingfisher. Fine in stapled wrappers; a beautiful copy of a scarce, early, fragile book.
54. COLWIN, Laurie. Passion and Affect. NY: Viking (1974). A review copy of her first book, a collection of stories. This copy was sent to John Updike for review; laid in is a letter to him from a publicist at Viking, dated in the month prior to publication. A little edge-sunning to the boards, as is common with this title; else fine in a fine dust jacket.
55. COLWIN, Laurie. Shine On, Bright & Dangerous Object. NY: Viking Press (1975). Her second book, a novel. Foredge foxing; near fine in a very near fine dust jacket with some slight fading to the spine letters. With a "Compliments of the Author" card laid in. This copy belonged to John Updike; letter of provenance on request.
56. CONNELL, Evan S., Jr. Mrs. Bridge. NY: Viking, 1959. His second book, first novel, and the basis much later for the Paul Newman/Joanne Woodward film based on this and its companion volume, Mr. Bridge, which was published in 1969. Minor foxing; near fine in a very good, mildly spine-faded dust jacket with edge tears at the lower folds.
57. CONROY, Pat. The Great Santini. Boston: Houghton Mifflin, 1976. The author's third book, first novel, and basis for the well-received film with Robert Duvall. Signed by the author. Fine in a very near fine dust jacket with trace rubbing and light foxing on verso. Conroy's books since this one have been bestsellers upon publication, with first printings in the six figures. This novel, however, is considerably scarcer than any of the later ones.
58. CROWLEY, John. Aegypt. NY: Bantam (1987). The uncorrected proof copy of his fifth novel, the first book in an ambitious tetralogy that also includes Love and Sleep and Daemonomania and one as-yet-unpublished volume. Crowley calls upon the historical figures of John Dee and Giordano Bruno, Renaissance alchemists, among others, to make the case that there is more than one history of the world. Finalist for the World Fantasy Award and selected as one of David Pringle's 100 best fantasy novels of all time. According to the author, there were textual differences between this proof and the final published book. Signed by the author. Near fine in wrappers.
59. CROWLEY, John. Antiquities. Seattle: Incunabula, 1993. The limited edition of this collection of stories, one of only 77 numbered copies in Japanese cloth and Egyptian papyrus signed by the author. A beautiful production. Fine.
60. -. Same title. The uncorrected proof copy of the trade edition. Seattle: Incunabula (1994). One of only 22 numbered copies, this being copy number 4. Signed by the author. Fine in wrappers.
61. CROWLEY, John. The Translator. (NY): Morrow (2002). The advance reading copy of this mainstream novel set at the time of the Cuban Missile Crisis, by the author of a number of highly praised, award-winning fantasy novels, including the classic Little, Big. Signed by the author. Fine in wrappers.
62. CROWLEY, John. Little, Big. (NY): Perennial (2002). The first printing of the Perennial paperback edition of his fourth book, first published in 1981. Winner of the World Fantasy Award and a landmark of contemporary fantasy. Ursula Le Guin commented that this book, all by itself, calls for a redefinition of the fantasy genre. Mixing magic, myth and fairy tale with a plausible contemporary story, Crowley goes a step beyond "magical realism" into a realm that could be characterized as the obverse: a realistic take on magic. Fine in wrappers.
63. (CROWLEY, John). Embrace the Mutation. (Burton): Subterranean Press, 2002. Thirteen writers provide storylines for J.K. Potter's images of genetic mutations. This is the deluxe edition and is signed by Potter and the editors William Schafer and Bill Sheehan. Also signed by John Crowley, who contributes the story "The War Between the Objects and the Subjects," and whose copy this was. Fine in a fine dust jacket.
64. DALAI LAMA. The Global Community and the Need for Universal Responsibility. Boston: Wisdom Publications (1992). Second printing of the revised edition of this essay by the Tibetan spiritual leader and Nobel Peace Prize winner. Inscribed by the author. Near fine in stapled wrappers.
65. DAVIES, Robertson. "The Revolt Against the Commonplace." (n.p.): (n.p.)(n.p.)[c. 1939-40]. Three page holograph manuscript, signed by Davies, on the topic of the incipient decline of naturalism in the English theater. Additionally authenticated by a photocopy of a 1995 fax from Davies, claiming the piece as his and supposing it to be one of several pieces he wrote while working as a "sort of literary chore-boy at the Old Vic." In these pages, Davies tracks the rise of naturalistic theater at the beginning of the century, its abuse by unskilled dramatists, the accompanying rise of naturalistic acting and its misapplication to poetic drama and, finally, the coming re-emergence of the romantic: "At the present time, when world affairs have made theatre-goers serious and critical, the demand is for the age-old solace of a troubled people, a truly poetic drama." Three sheets; 8" x 13"; dampstaining to the lower edge of the second sheet, affecting but not obscuring the two lowest lines of text; one edge fold; one center fold; overall near fine, the thin paper protected by a custom clamshell box. An extremely early manuscript by Davies -- the author of the celebrated Deptford Trilogy and one of the great Canadian men of letters of the 20th century -- contemporary with his first published book, Shakespeare's Boy Actors, and preceding his first novel by nearly a decade. Manuscript material by Davies is extremely scarce, especially material from this early in his career.
66. DELANY, Samuel R. The Motion of Light in Water. (n.p.): Ultramarine, 1988. The limited edition of Delany's Nebula Award-winning autobiography, subtitled "Sex and Science Fiction Writing in the East Village, 1957-1965." Delany lived in New York's East Village during the 1960s and was immersed in the counterculture during that time. Many of his novels from that period reflect a social criticism and commentary of a decidedly utopian, and countercultural, bent; several of them explore the kinds of consciousness changes that are associated with psychedelic drugs. An interesting memoir, placing its author in a specific cultural context that sheds light on much of his writing. Of a total edition of only 50 copies, this is one of only 10 lettered copies in full leather. Signed by the author. Fine without dust jacket, as issued.
67. DELILLO, Don. End Zone. Boston: Houghton Mifflin, 1972. His second novel and, because of the black dust jacket, probably the toughest DeLillo book to find in fine condition. A fine copy in a very near fine dust jacket with trace rubbing at the corners and folds. An extremely attractive copy of this title.
68. 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 fine, price-clipped dust jacket.
69. DEXTER, Pete. Paris Trout. NY: Random House (1988). His third book, winner of the National Book Award and basis for a TV movie that was nominated for five Emmy awards, including one for Dexter's screenplay adaptation of his novel. Fine in a fine dust jacket.
70. DICK, Philip K. and POWERS, Tim. Postscript. September, 1981. Typewritten postscript by Dick on a photocopy of a letter by Powers submitting a story to The Magazine of Fantasy and Science Fiction. Beneath Powers brief, staid request that the editor consider his story, Dick has typed a postscript, of approximately 75 words; in part: "I always read your wonderful magazine. Sometimes I understand the stories and sometimes I don't. Could you ask your authors to use smaller words? I like stories with real small words, and, if possible, pictures so I can see how the characters look. I especially try to imagine how the female characters look..." Etc. Not signed by Dick or Powers (except in photocopy), but beneath the postscript Powers has written "PKD added the P.S." Fine. Letter of provenance available.
71. DOCTOROW, E.L. World's Fair. NY: Random House (1985). Winner of the National Book Award. A title in his New York City sequence, this one focusing on the World's Fair of 1939. Fine in a fine dust jacket.
72. (DOVE, Rita). PLUSH, Vincent. Cartographies. (Folly Beach): Self-Published, 1994. Three compositions by Plush, a major Australian composer, using as lyrics three Rita Dove poems: "Mississippi," "Primer for the Nuclear Age," and "Horse and Tree." The latter is dedicated to Lou Harrison, the avant garde American composer and this copy is inscribed by Plush to Lou Harrison, "old friend, cherished colleague,/ and inspirational figure/ every best wish for your 75th, 76th, 77th birthday." Harrison was a major figure in avant garde music in America for over fifty years, teaching at Black Mountain College and later collaborating with John Cage, among others. This is both a rare and significant work, and association, within the context of 20th century music, and also an extremely scarce publication of work by Rita Dove, the African-American poet and Pulitzer Prize winner, probably representing the first time her poetry had been set to music, preceding any of the compositions listed in her CV at the University of Virginia, where she teaches, by two years. 8 1/2" x 11"; ringbound; fine.
73. DUNCAN, Robert. Heavenly City, Earthly City. (Berkeley): (Bern Porter), 1947. The first book by this poet whose work, along with that of his close friends Kenneth Rexroth, Jack Spicer and Robin Blaser, helped define the San Francisco renaissance in the 1950s. Duncan was also a close friend of Charles Olson and taught briefly at the experimental Black Mountain College in North Carolina. After Olson's death, Duncan became the principal exponent of poetry in an open form, first articulated in Olson's influential 1950 essay, "Projective Verse." His relationship with Olson, which had begun when he had started publishing poems in Origin in 1952, continued after his stint at Black Mountain when Olson came to San Francisco to give a series of lectures entitled "The Special View of History" -- an influence on Duncan's next, and by consensus his best, book, The Opening of the Field. Duncan himself was an important influence on the Beat poets who came to San Francisco in the 1950s, and his writings -- which continued traditions laid out by Emerson, Whitman, Coleridge and Wordsworth, not to mention Blake -- helped establish the line of succession in American literature that the Beats built upon. This is one of 250 copies of the trade edition, of a total edition of 350. A bit of sunning to boards and offsetting to endpages but still a near fine copy of an important first book, lacking the dust jacket. This copy is from the library of Pauline Kael, longtime film critic for The New Yorker and one of Duncan's earliest friends, dating from their time together at the University of California in the early 1940s. Letter of provenance available.
74. DUNCAN, Robert. Caesar's Gate. (Palma de Mallorca): Divers Press, 1955. His fifth book, published by Robert Creeley's Divers Press. Creeley was another poet associated with Black Mountain College, where Duncan taught the year after this book was published, and a co-founder of Origin, where Duncan had been publishing since 1952. One of 200 copies of the trade edition, of a total edition of 213. Although not called for, this copy is signed by Duncan and Jess Collins, who provided the collages, and who was Duncan's longtime partner. Splitting to the front hinge; else near fine in wrappers. An uncommon book, and especially scarce signed.