Catalog 146, K-L

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130. KEROUAC, Jack. The Dharma Bums. NY: Viking, 1958. A classic of Beat literature and Kerouac's best-loved book after On the Road. The Dharma Bums essentially continued the story begun in On the Road and introduced Japhy Ryder, "the number one Dharma Bum of them all," based on the Beat poet Gary Snyder. Foxing to top stain; faint offsetting to endpages from binder's glue; a near fine copy in a near fine, lightly rubbed dust jacket with the colors still bright. A nicer-than-usual copy of this Beat classic.

131. KEROUAC, Jack. Doctor Sax. NY: Grove (1959). A novel that is part of his Duluoz saga, a multi-volume, semi-autobiographical account of the author's life and times. Most of Kerouac's friends, family and acquaintances appear in his novels, thinly disguised: he had intended to write the sequence as a self-invented genre that stuck strictly to the "truth," albeit with the free-flowing rhythm and style of his inventive, spontaneous prose -- but was persuaded early on that the legal and logistical difficulties of such an approach were insurmountable. As such he followed through on the plan, simply changing the names of the various characters he chronicled. Inscribed by the author: "Dear Jeff/ This is the final/ Baroque version/ of the Faust/ Legend, mixed with/ some New England/ Gothicism/ Jack Kerouac." The recipient was apparently Jeff Geilich, and it would appear that Henri Cru, Kerouac's longtime friend dating from his high school years at Horace Mann prep school, got the book inscribed for Geilich and then mailed it to him, at the Carmel Country Club [now the Sedgewood Club], in Carmel, New York. Cru appears in Kerouac's novels as "Remi Boncoeur" (On The Road) and "Deni Bleu" (Lonesome Traveler and others). This is the softcover issue of the book; there was a small simultaneous hardcover edition published as well. Wrappers lightly scratched and rubbed on hinges; still very good.

132. (KEROUAC, Jack). NICOSIA, Gerald. Memory Babe. NY: Grove Press (1983). A dedication copy of this early Kerouac biography. Inscribed by Nicosia: "For Carl [Macki], one of the begettors [sic] of this work and always an inspiration, with love and respect, Gerry Nicosia." Dated in San Francisco, Aug. 20, 1983. The book is dedicated to John Jacob and Carl Macki, "poets with heart." Text block shaken; boards bowed; handling apparent to boards and wear to spine. A good, well-used copy, in a supplied, near fine, price-clipped dust jacket. With a clipping from the San Francisco Chronicle laid in about the 12-year battle between Nicosia and the Kerouac estate and Nicosia's conflicts with Viking Penguin, the publisher of Kerouac's writings, and a response from Nicosia to the article in the form of a letter to the editor. A significant copy of one of the important biographies of the Beat Generation icon.

133. (KESEY, Ken). Still Kesey! NY: Viking, 1986. A promotional flyer for an evening with Kesey, who was on tour with "The Thunder Machine Band" promoting his book Demon Box. Contains three previously unpublished and still-uncollected Kesey poems. A single sheet, folded to make four pages. Fine.

134. KING, Ross. Domino. (London): Sinclair-Stevenson (1995). The first book, a novel set in 18th century Europe, by the author of Ex-Libris as well as several popular and well-received nonfiction books dealing with European cultural history. Signed by the author. Fine in a fine dust jacket.

135. KING, Stephen. Carrie. Garden City: Doubleday, 1974. His first novel, basis for one of the defining movies of the '70s and the beginning of one of the most remarkable writing careers in the history of American letters: King is one of the, if not the, bestselling novelist of all time and one of the only writers -- J.K. Rowling of Harry Potter fame comes to mind as another -- who has achieved a level of celebrity akin to that of movie stars and Presidents. After being dismissed for two decades by the literary community as solely a genre writer (and perhaps too-popular-to-be-good), King was recently awarded The National Book Foundation's Medal for Distinguished Contribution to American Letters, an award that puts him in a select group of American writers along with Norman Mailer, Philip Roth, John Updike, Eudora Welty, Arthur Miller, Toni Morrison, Gwendolyn Brooks and a small handful of others. It would not be amiss to say that this is the highest literary honor accorded in the U.S. This copy is inscribed by the author in 1982. Fine in a near fine dust jacket with minor edge wear and two internally tape-mended tears. A nice copy, with an early inscription, from the years before King was such a celebrity that signing books was almost an impossibility because of his popularity and the extreme demands placed upon him as a result.

136. KING, Stephen. The Dead Zone. NY: Viking (1979). King's fifth novel, sixth book, the basis for the well-received David Cronenberg movie, which features a remarkable performance by Christopher Walken as the main character -- a disabled school teacher who discovers that the accident that crippled him also gave him the power of "second sight." Inscribed by the author in 1982 to noted horror writer Stanley Wiater, a three-time winner of the Bram Stoker Award. With Wiater's Gahan Wilson-designed bookplate on the front pastedown -- the only bookplate Wilson ever designed. Rear pastedown has prior gift inscription to Wiater; otherwise a fine copy in a fine dust jacket. A nice association copy.

137. KING, Stephen. Firestarter. NY: Viking (1980). Inscribed by the author to Stanley Wiater in 1984: "For Stanley -- Thanks for the 4th annual Stevie-Pete interview in Ottawa -- Stephen King 10/13/84." Wiater has conducted a number of interviews over the years with King and other horror writers, for print, radio and television. The inscription probably refers to one conducted at the 1984 World Fantasy Convention in Ottawa. Wiater's Gahan Wilson-designed bookplate on the front pastedown; prior gift inscription to Wiater on rear pastedown; else fine in a fine dust jacket.

138. KING, Stephen and STRAUB, Peter. The Talisman. (NY): Viking (1984). The first one-volume trade edition of this novel co-written by the two horror masters. Originally published in a signed limited edition and a slipcased two-volume trade edition by Donald M. Grant. Inscribed by both King and Straub to horror writer Stanley Wiater: "For Stanley -- I hope you'll like this book! Peter Straub," "and best from me -- Stephen King." Wiater's bookplate on the front flyleaf; one corner tapped; else fine in a fine dust jacket.

139. KING, Stephen. The Waste Lands. Hampton Falls: Donald M. Grant (1991). The deluxe edition of the third volume of King's "Dark Tower" epic, limited to 1250 copies signed by King and by the illustrator, Ned Dameron. Fine in a fine dust jacket and slipcase.

140. KING, Stephen. Wizard and Glass. Hampton Falls: Donald M. Grant (1997). The two-volume deluxe edition of the fourth volume of King's "Dark Tower" epic, limited to 1250 copies signed by King and by the illustrator, Dave McKean. Fine copies in fine dust jackets and slipcase.

141. KING, Stephen. The Girl Who Loved Tom Gordon. (NY): Scribner (1999). A novel. Signed by the author. With the bookplate of Stanley Wiater on the front pastedown; fine in a fine dust jacket. One of his scarcest trade editions to find signed, presumably because of the difficult logistics of handling a Stephen King book signing in recent years, due to his extreme popularity. This copy was a gift to attendees at a dinner celebrating King's 25th anniversary as a published writer, which Wiater attended with his wife.

142. KLINKOWITZ, Jerome. Superfiction. (n.p.): (n.p.), (n.d.). Self-produced version of this defense of contemporary fiction and of writers he feels have been ignored or even critically maligned. Previously published and unpublished chapters on Gilbert Sorrentino, Donald Barthelme, Clarence Major, Walter Abish, among others, as well as a chapter on "Black Superfiction." An expanded version was published in 1977 as The Life of Fiction. These are photocopied 8 1/2" x 11" sheets, bound with two staples. With the author's address label on the front cover sheet. Page edges darkening; near fine. Klinkowitz was associated with the Fiction Collective in the 1970s, and he also prepared the first bibliography of Kurt Vonnegut.

143. KOONTZ, Dean. The House of Thunder. Arlington Heights: Dark Harvest, 1988. The first limited edition. Issued in an edition of 550 numbered copies, this copy is designated "P/C." Signed by Koontz and by the illustrator Phil Parks. Originally published in 1982, in paperback, under the pseudonym "Leigh Nichols." Fine in a fine dust jacket and slipcase.

144. KOONTZ, Dean. The Servants of Twilight. Arlington Heights: Dark Harvest, 1988. The first limited edition. Issued in an edition of 450 numbered copies, this copy is designated "P/C." Signed by Koontz and by the illustrator Phil Parks. Originally published in 1984, in paperback, under the pseudonym "Leigh Nichols." Fine in a very near fine dust jacket with a short catch at the upper jacket edge from the publisher's slipcase (included), which is a bit small for the book.

145. KOONTZ, Dean. The Key to Midnight. Arlington Heights: Dark Harvest, 1989. The first limited edition. Issued in an edition of 550 numbered copies, this copy is designated "P/C." Signed by Koontz and by the illustrator Phil Parks. Originally published in 1979, in paperback, under the "Leigh Nichols" pseudonym. Fine in a fine dust jacket and slipcase.

146. KOONTZ, Dean. The Eyes of Darkness. Arlington Heights: Dark Harvest, 1989. The first limited edition. Issued in an edition of 400 numbered copies, this copy is designated "P/C." Signed by Koontz and by the illustrator Phil Parks. Originally published in 1981, in paperback, under the "Leigh Nichols" pseudonym. Fine in a fine dust jacket and slipcase.

147. KOONTZ, Dean. Shadowfires. Arlington Heights: Dark Harvest, 1990. The first limited edition. Issued in an edition of 600 numbered copies, this copy is designated "P/C." Signed by Koontz and by the illustrator Phil Parks. Originally published in 1987, in paperback, under the "Leigh Nichols" pseudonym. Fine in a fine dust jacket and slipcase.

148. KOSTER, R.M. The Prince. NY: Morrow, 1972. The first book in a trilogy set in the fictional Central American country of Tinieblas, a country very similar to Panama, where the author grew up. The trilogy, and this book in particular, was highly praised for its authenticity and insight. John Le Carré thanked Koster in The Tailor of Panama for helping him and providing him access as well as "wise counsel." Nominated for the National Book Award. Signed by the author in the year of publication on the front flyleaf. Lengthy gift inscription (in Panama, apparently) on the verso of the half title. Dusty top edge; else fine in a near fine, dusty and price-clipped dust jacket.

149. KRAKAUER, Jon. Into the Wild. (NY): Villard Books (1996). The advance reading copy of the second solo book by the author of Into Thin Air. Like Krakauer's more famous title, this one also recounts a tragedy in the wilderness, albeit not one he was witness to. Made into a film by Sean Penn. This copy is signed by the author. Very near fine in wrappers with a small nick to the crown and a short lamination crease to the rear cover.

150. LAPCHAROENSAP, Rattawut. Draft Day. (NY): (One Story)(2004). Issue 46 of One Story, consisting, not surprisingly, of this one story by an author recently listed as one of Granta's best young American novelists, although his only book, Sightseeing, published in 2005, is a short story collection. This is his first solo appearance in print, a story that was later included in his first collection. Fine in stapled wrappers and signed by the author.

151. LAWRENCE, D.H. Sons and Lovers. London: Duckworth, 1913. Lawrence's third novel, widely considered one of his masterpieces -- a semi-autobiographical novel that Lawrence himself considered a "great book." Offsetting to the endpages and foxing to the pages edges; otherwise a near fine copy, without the rare dust jacket, but with the gilt stamping on the spine and front cover bright and unworn: one of the nicest copies of this title we have seen. One of the Connolly 100 -- the defining books of The Modern Movement. In a custom clamshell case.

152. LAWRENCE, D.H. Autograph Letter Signed. November 23, 1918. Addressed to "My dear Pinker," his literary agent, James B. Pinker. Two pages on the subject of publication and poverty, in part: "....I have sent Harrison two more of the American essays, which are coming out in December or January. I really think these should be published in America. Harrison says an American bought 20 copies of the first essay - this month's - to send over there. I suppose I ought to let you have the ms. Unfortunately that which is ready is not typed, & it costs so much to type. I really have no money at all. Would you defer the paying of the 15 I owe you for a short time, & send me what little comes in. For English purposes there is no need to type the ms., is there? I am going back to Middleton on Tuesday. I have written three short stories which ought to sell: two are very good.....Here I send you a play [likely "Touch and Go"]. I know I ought to write something saleable - but this is rather a wonderful play, and I wanted to do it.....One day it will be acted...." Signed "D.H. Lawrence." Two pages on 5" x 8" paper, matted and framed to 17" x 14 1/2". Fine. A remarkable glimpse of the writer struggling to make a living, as well as to create art.

153. LAWRENCE, D.H. Autograph Letter Signed. Undated. c. 1920. Written from Fontana Vecchia, Taormina, to "Dear [Albert] Stopford," apologizing ("so tiresome of us") for having to cancel a luncheon plan owing to a pending departure for Palermo. The letter also transmits a copy of The Rainbow (not present) about which Lawrence says, "This is the only copy of this edition which I have signed." Signed "D.H. Lawrence." Folded in fourths for mailing; else fine. 7 1/2" x 9 1/2", matted with a photograph of Lawrence, Frieda, and presumably Stopford, to 18 1/2" x 17". Fine.

154. LAWRENCE, D.H. Women in Love. London: Martin Secker (1921). The first trade edition, published a year after the U.S. limited edition that was done for subscribers. Lawrence considered this one of his great novels, and a key to the liberating aspect of his work as a whole: he said that "when it is finished, I will have knocked the first loop-hole in the prison where we are all shut up." However, British publishers were not so enthusiastic, and Methuen canceled its contract with Lawrence and refused to publish the book. A subscribers-only limited edition was done in the U.S., consisting of 1250 copies, in 1920. Martin Secker then bought up 50 sets of sheets from that edition and issued a U.K. limited edition, again for subscribers only, also in 1920. In 1921 Secker issued a trade edition, the first trade edition of what has come to be known as one of Lawrence's defining works. This is the earliest state of the text, with the "girl with dark, soft, fluffy hair" on page 63, line 19. Some tape shadows and offsetting to the endpages and mild tanning to page edges; slight foxing to top edge; still about near fine in a very near fine dust jacket with shallow chipping to the spine base and a couple faint spots on the front panel. One of the scarcest Lawrence titles in dust jacket: only two copies have appeared at auction in at least 30 years, both of them in defective jackets; this copy was offered in the Simon Finch D.H. Lawrence catalog in 2002 (whom we thank for the above quote) and is the finest copy that we are aware of having been offered for sale in dust jacket. In a custom clamshell case.

155. LAWRENCE, D.H. The Rainbow. NY: W.B. Huebsch, 1921. The second American edition of this 1915 novel, one of Lawrence's classics. This is identified on the spine of the dust jacket and on the paper label on the spine of the book as a "limited edition," although no limitation is specified. The original publication by Methuen in 1915 was suppressed, and it is possible the limited edition notation was an attempt to circumvent censorship, as the subscriber's edition of Women in Love had done a year earlier. Pages partially uncut; mild foxing to endpages and mottling to boards; about near fine in a near fine, dusty dust jacket with a small spot on the spine. Very uncommon in dust jacket. In a custom clamshell case which is also labeled with "limited edition."

156. LAWRENCE, D.H. The Escaped Cock. Paris: Black Sun Press, 1929. The last of Lawrence's books published in his lifetime. Of a total edition of 500 copies, this is one of 450 numbered copies, with water-color illustrations by the author. Fine in self-wrappers and original glassine, very slightly tanned on the spine, in near fine publisher's slipcase and custom clamshell case. An attractive copy of this book published by Harry and Caresse Crosby's fine press.

157. LEE, Harper. To Kill a Mockingbird. (NY): HarperCollins (1995). The first printing of the 35th anniversary edition of Pulitzer Prize-winning novel, made into an Academy Award-winning film. Signed by the author: "Best wishes, Harper Lee." This edition has a foreword by Lee, in which she decries introductions. Fine in a fine dust jacket. While the anniversary editions of this title have become ubiquitous, this first printing of the first one is extremely scarce: apparently the publisher did not anticipate the popularity of the book and the demand for copies. The 35th anniversary edition was reprinted many times, and a 40th anniversary edition was issued a few years later, which is much more common than this. A scarce edition of a landmark novel.

158. LINDBERGH, Anne Morrow. Gift from the Sea. (NY): Pantheon (1955). Her most famous book, a meditation on a woman's life that became an instant classic and went into innumerable printings. The first printing is quite scarce. This copy is signed by the author on the title page and additionally inscribed by her on the front flyleaf: "For Sylvia - a continued conversation - gratefully/ Anne/ March 1955." Bookseller notes partially erased from rear pastedown; a near fine copy in a near fine, mildly spine-tanned dust jacket with light edge wear. Very uncommon signed or inscribed: this is the only copy we have seen in a number of years.

159. -. Same title. A review copy. Fine in a very good dust jacket with rubbing to the folds and modest corner chipping. Review slip laid in, giving the publication date and requesting that reviews not be released prior to that. An uncommon prepublication edition.

160. LORDE, Audre. From a Land Where Other People Live. Detroit: Broadside Press (1973). A review copy of this book of poetry by the African-American poet, published by a small Black-owned press. Fine in stapled wrappers.

161. -. Another copy. Also a review copy. With a "Nominated for a National Book Award for Poetry" sticker on the front cover and a photocopied paragraph about Lorde and the nomination laid in. Fine in stapled wrappers.

162. LORDE, Audre. The New York Head Shop and Museum. Detroit: Broadside Press (1974). A review copy of the fourth book of poetry by this Black feminist writer. Very near fine in stapled wrappers with a promotional sheet of information laid in.

163. LOWRY, Malcolm. Autograph Letter Signed. Undated, written from British Columbia, address to "Hoffman [friend, fellow writer and literary critic Hoffman Hayes] & Julie." Lowry explains his lack of follow-through on a phone call by saying he was with a bottle of Old Overholt and Maxwell Perkins, who had just accepted Lowry's wife's [Margerie Bonner's] novel [Horse in the Sky]. Lowry expresses gratitude for Hayes' hospitality and offers to reciprocate, as well as inquiring as to Hayes' book. "Meanwhile the primroses are out, the seagulls have their spring plummage on, and the entire inlet is covered with a gorgeous film of oil." A full page, 7 1/2" x 12", written in pencil; folded for mailing, else fine. Matted and framed to 14" x 18 3/4".

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