Catalog 137, B
23. BANKS, Russell. Djinn. (n.p.): HarperCollins (2000). A pre-publication limited edition of a story from The Angel on the Roof. One of 500 numbered copies signed by the author. Slight crease front cover; else fine in stapled self-wrappers.
24. (BANKS, Russell). AVEY, Elijah. The Capture and Execution of John Brown. Chicago: Brethren Publishing House (1906). A book about Brown, who inspired Banks's 1998 novel Cloudsplitter. This copy is inscribed by Banks to Robert [Jones], "with gratitude in love/ Russell/ 4/3/97/ Keene, NY." Jones was the Editor-in-Chief of HarperCollins, which published Cloudsplitter. A nice association. The book has a previous owner name and is near fine, without dust jacket.
25. BEATTIE, Ann. Chilly Scenes of Winter. Garden City: Doubleday, 1976. A later printing of her first novel, signed by Beattie with a drawing of what looks something like an angel in arrested descent, saying "Oh No! This is the old book, not the new book. Oh no...." Her second novel was entitled Falling in Place. A very good copy in a good, externally tape-repaired dust jacket.
26. BERGER, Thomas. Little Big Man. NY: Dial, 1964. The author's third and most famous novel, a tragicomic history of the American West, which was immortalized on film. Winner of the Richard and Hinda Rosenthal Foundation Award of the American Academy of Arts and Letters -- given for a work that, while not being a commercial success, is nonetheless a substantial literary achievement. Minor foxing to top stain and spine; very near fine in a near fine, price-clipped dust jacket with trace rubbing and foxing. A much nicer than usual copy of this novel.
27. BERGER, Thomas. Best Friends. NY: Simon & Schuster (2003). The uncorrected proof copy of this novel by the author of Neighbors and Little Big Man, among many others. Rear corner crease; else fine in wrappers.
28. BERRY, Wendell. The Art of the Commonplace. Washington, D.C.: Counterpoint (2002). The advance reading copy of this selection of Berry's agrarian essays, written over a span of more than 25 years. Fine in wrappers.
29. BLACKWOOD, Caroline. Great Granny Webster. (London): Duckworth (1977). The second novel by this writer whose first, The Stepdaughter, won the David Higham Fiction Prize. Shortlisted for the Booker Prize. Fine in a near fine, spine-sunned dust jacket. Laid in is a small square of paper signed by the author: "Could you wake me when you wake. Love Caroline." Blackwood was married to the painter Lucian Freud and later the poet Robert Lowell; a biography of her, Dangerous Muse, was published after she died in 1996.
30. BLACKWOOD, Caroline. Corrigan. London: Heinemann (1984). Near fine in a very good dust jacket with a dampstained lower edge and some lift to the lamination. Laid in are two autograph notes signed: one in case she and the recipient pass in the elevators; a second thanking him for a comfortable night. Corrigan was Blackwood's last novel; she wrote nonfiction thereafter. Her novels were eerie, sometimes macabre, satires of the English aristocracy; she herself was the renegade daughter of a British lord and a descendant of the Guinness family fortune.
31. BLOOM, Amy. Love Invents Us. NY: Random House (1997). The second book, first novel by the author of Come to Me. Signed by Bloom. Fine in a fine dust jacket.
32. BLOOM, Amy. A Blind Man Can See How Much I Love You. NY: Random House (2000). Her third book, second story collection. Inscribed by the author, "with great admiration & appreciation." Fine in a fine dust jacket.
33. BORGES, Jorge Luis. La Rosa Profunda and La Moneda de Hierro. (Buenos Aires): Emecé (1975-1976). Two volumes of poetry, bound together in green cloth. Reportedly, Emecé, the publisher, issued a "handful" of copies of these works, which were initially published separately in softcover, in hardcover bindings, presumably for the library trade or as a "deluxe" edition. We have never seen another such copy before. A bit of edge darkening to pages; hinges starting; still near fine, without dust jacket, probably as issued.
34. (BROOKS, Gwendolyn). Poetry, Vol. 76, No. 1. (Chicago): (Modern Poetry Association), 1950. Stanley Kunitz reviews Brooks' Annie Allen. This copy comes from Brooks' library, and Brooks has signed her name on the contents page, next to the listing for Kunitz's review, apparently an indication of the author's paying attention to the reviews her poetry elicited. Annie Allen, about which Kunitz wrote an extremely favorable review, was Brooks's second book and went on to win the Pulitzer Prize for Poetry, making Brooks the first African-American writer to win that prize, securing her place and importance in both American literature and African-American literature. Spine and edge-darkened; very good in wrappers.
35. (BROOKS, Gwendolyn). THURBER, James. The Last Flower. NY: Harper & Brothers (1961). A posthumous reprint of Thurber's 1939 parable. This copy has the ownership signature of Gwendolyn Brooks under the front flap. where she has also written her daughter's name and their address and phone number. Brooks' daughter, Nora Blakely, has apparently signed the book on behalf of them both as well. A good copy in a fair dust jacket, with substantial wear and chipping.
36. (BROOKS, Gwendolyn). Poetry, Vol. 99, No. 4. (Chicago): (Modern Poetry Association), 1962. An article by David Ignatow references Brooks' poetry. This copy comes from Brooks' library, and Brooks has cited the article ("See Page 252") on the front cover. A few small spots and some spine-darkening; very good in wrappers.
37. (BROOKS, Gwendolyn). New Negro Poets U.S.A. Bloomington: Indiana University Library (1964). Brooks provides the foreword to this collection edited by Langston Hughes. This was Brooks' own copy and has her ownership signature on the rear pastedown as well as a note in her hand referencing a Ted Joans poem on p. 83. Triangular cut to the margin of one page, apparently excising a marginal comment Brooks had made to the poem; a very good copy, lacking the dust jacket.
38. (BROOKS, Gwendolyn). Kuumba. (Greensboro): (Malcolm X College) [c.1972]. Commemorative booklet for the Kuumba Black Liberation Awards. Brooks, who was the first recipient, in 1969, contributes a tribute to the current recipients, Lerone Bennett and Hoyt Fuller. Laid in is a mimeographed program for the awards ceremony. Near fine in stapled wrappers.
39. (BROOKS, Gwendolyn). Fifteen Chicago Poets. Chicago: The Yellow Press, 1976. The hardcover issue of this collection of poems, including three by Brooks. Other poets collected include Ted Berrigan, Paul Carroll, Maxine Chernoff, and others. Fine in a very near fine, lightly rubbed dust jacket. The book was issued simultaneously in hardcover and softcover, with the hardcover edition being considerably scarcer. This copy comes from the library of Gwendolyn Brooks, and is probably one of the handful of copies saved for the authors.
40. (BROOKS, Gwendolyn). Roots & Dreams, Vol. 1., No. 1. (Chicago): [Kuumba], 1979. Contains one poem by Brooks, who is acknowledged as having helped fund this enterprise. Publisher's name written in (in Brooks' hand?). Fine in stapled wrappers. Another indication of Brooks's involvement in supporting small presses and young African-American writers.
41. (BROOKS, Gwendolyn). The Great Lakes Review, Vol. 6, No. 1. (Mt. Pleasant): (Central Michigan University), 1979. An interview with Brooks. Also includes a bibliography of fiction and drama by women from the states of Iowa and Michigan. Item foxed; thus very good in wrappers.
42. (BROOKS, Gwendolyn). Various Titles. (Various Places): (Various Publishers) (Various Dates). A small lot of books, each inscribed to Gwendolyn Brooks. Included: 1. Deep Down in My Soul (Miami: Theatre of Afro-Arts, 1969). Inscribed to Brooks ("to a beautiful sister") on the page with art by Gail Coachman. With a letter to Brooks from the program director laid in. Corner and edge staining; very good in stapled wrappers. 2. Garland Court Review (Chicago: Chicago City College, 1970), inscribed to Brooks on her birthday by contributors and students (33 of them) and including an autograph letter signed by the advisor, Edward Homewood, to Brooks, in which he states, "The students who publish often do not live up to high literary standards -- sometimes to no literary standards at all -- but they are truly the beautiful people." On this letter, Brooks has written "Whose?" with arrows pointing to the phrase "high literary standards." Brooks has also written Homewood's address on the rear cover. Near fine in stapled wrappers. 3. Willy (Garden City: Doubleday, 1971). A children's book, inscribed to Brooks ("my alpha and omega") by the author, Helen H. King. Near fine in a very good dust jacket. 4. I Wish I Lived at the Playground (Chicago: O'Hara, 1972). A bilingual book of poetry for young people, inscribed to Brook by the author, Bonnie Nims, in 1979 "with love, admiration, and gratitude." Fine in a very good, price-clipped dust jacket. 5. Sterling A. Brown: A UMUM Tribute (Philadelphia: Black History Museum UMUM Publishers, 1976), inscribed to Brooks by contributor James P. Spady. Near fine in stapled wrappers. 6. Trust You, Wriggly! (London: Hodder & Stoughton, 1981). A children's book, inscribed to Brooks by the author, Grace Nichols, "with love." Near fine in pictorial boards. An interesting lot of books, reflecting Brooks's interest in, and support for, young writers and writing, and her importance and stature in the world of African-American literature. For all:
43. (BROOKS, Gwendolyn). Miscellaneous Holograph Notes. (Various Places): (Various Publishers) (Various Dates). Several books from Brooks' library, on which she has written notes, apparently to herself. Included: Poetry, Vol. 105, No. 1. (Chicago: Modern Poetry Association, 1964). This is a Greek issue of this magazine, and Brooks has written only "See inside cover" on the outside cover. The inside cover is an advertisement for a reading by Brooks, John Berryman, Denise Levertov, Henry Rago and William Stafford. Spine-tanned; near fine in wrappers. Also included: Black Dialogue (San Francisco: Black Dialogue, 1967). Brooks has marked a movie review of "Dutchman" by Clarence Major and the article "Natural Black Beauty" by Joe Goncalves. Covers creased and foxed; very good in stapled wrappers. And, lastly, Kalliope, Vol. 4, No. 1. (Jacksonville: Jacksonville Women's Poetry Collective, 1981). Brooks has rather passionately and disparagingly annotated an interview with June Jordan. Foxing; cover creasing; very good in stapled wrappers. For all:
44. BUKOWSKI, Charles. Sifting Through the Madness for the Word the Line the Way. (NY): Ecco (2003). The advance reading copy of this posthumous collection of Bukowski's poetry. Fine in wrappers.