Catalog 167

All books are first printings of first editions or first American editions unless otherwise noted.

1.
Santa Barbara, Capra Press, [1986]. Two sets of galley sheets, one bound and one unbound, for the small Capra volume, Confessions of a Barbarian, which was an advance excerpt of the book later published as The Fool's Progress. Two sets of sheets, each on legal-sized paper and printed on rectos only. 42 pages, including the "Editor's Introduction" in which Abbey recounts his first meeting with "Henry Lightcap," the narrator of the novel. The first set of sheets, unbound, has the alternate titles "Festival of Fools" and "A Fool's Progress" written at the top, with a question mark, and "read by E. Abbey 2/86" written across the bottom. The second set, comb-bound at the top, includes a pictorial cover and the text of "Red Knife Valley" by Jack Curtis, which was bound back-to-back with the Abbey piece in the finished book. This second set is marked as having been read by E. Abbey on 3/4/86. Both versions have been copy-edited. On several pages in the unbound version, Abbey has served as his own copy editor: on page 24 in the first version Abbey himself writes: "two pages of typescript missing here," and signs the comment, "EA." The two pages of heavily corrected (photocopied) typescript are inserted into the second version. And on page 29 of the first version, under the typeset message "NOTE! Manuscript pages 46 & 47 need to be inserted here. I did not receive them," Abbey again interjects: "Yes you did," and initials there, "EA." These additional two photocopied and corrected "missing" pages are also laid into the second version. In a few other places Abbey has corrected typos, although without signing his edits, and he has used the verso of one sheet to make a note, presumably to himself, apparently about a sizable bank deposit. Both sets of galleys are fine and laid into one custom clamshell case. A unique, working copy of one of Abbey's last books: he died shortly after the full-length version of The Fool's Progress was published. Working copies of his books and papers seldom appear in the marketplace; most have been sold or donated to institutions. [#032730] $1,500
2.
NY, McDowell Obolensky, (1959). An advance copy, in the form of comb-bound galleys, of the first American edition of the Nigerian author's first book, concerning the impact of the coming of the white man on village tribal life. 215 pages, 5-3/4" x 7-1/4", printed on rectos only, and comb-bound at the top; an unusual format. Considerable staining and a small abrasion to the front cover, partially affecting the publication date (although it is still discernible) and some other minor edge staining to the book. Overall, very good. An enormously powerful book, which had tremendous impact upon publication in the U.S. and U.K. and helped lay the groundwork for future post-colonial African literature as well as other ethnic literature that eschewed a Eurocentric world view. A rare state of a landmark of 20th century world literature. [#032731] SOLD
3.
(North Andover), Kat Ran Press, 1998. Autobiographical poems by the Dominican-American author of How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, among others. With lithographs by Sara Eichner. One of 50 numbered copies of a total edition of 65 signed by the author and the artist, hardbound in handmade flax paper by David Bourbeau of the Thistle Bindery. The second publication by this press, an elaborate production that sold for nearly $1000 at publication and has been out of print for years. Eichner has since become one of the more collectible artists working today. An attractive and uncommon volume. 11-1/2" x 16-1/4". Fine, in the original clamshell case, with a bit of dust soiling, with publisher's prospectus laid in. [#914607] $1,500
4.
London, Transcontinental Film Productions, 1979. A copy of Amis' screenplay for this 1980 science fiction thriller, based on a story by John Barry, and starring Farrah Fawcett, Kirk Douglas, and Harvey Keitel. Signed by Amis. 94 pages of late-generation photocopy reproducing holograph changes to the text, printed on rectos only; title written on the spine. Title page dated January 19th, 1979, with some interior pages dated variously after that up to March 7, 1979. Bradbound without covers; near fine. Housed in a slipcase for Amis' Invasion of the Space Invaders. Saturn 3 was nominated for a Golden Raspberry Award for worst in film, but lost to the pseudo-documentary of the Village People, Can't Stop the Music, starring Bruce Jenner. A little-known, early work by Martin Amis, and very uncommon to find signed. [#032732] $350
5.
(Anthology)
(Washington, D.C.), Harcourt, Brace/(War Department), (1944). The sixth edition of this education manual (EM 131), edited by Louis Untermeyer and prepared for the U.S. Armed Forces. Two volumes: one American, one British. Signed in the first volume by Marianne Moore; signed in the second volume by W.H. Auden and by Osbert and Edith Sitwell, at their contributions. Tapebound copies in wrappers, with some creasing and foxing to the covers. A bit of underlining in the pages with Louis Macneice and Edward Arlington Robinson. Spine labels missing. A good set. [#032733] SOLD
6.
(Anthology)
(New Orleans), (Loujon Press), (1962). The second issue of this influential little magazine, which published a number of the Beat, and later counterculture, writers while they were still "outsiders." Handset and printed, they were as innovative typographically as they were in terms of contents, and Loujon Press later went on to produce some of the most distinctive productions of the 1960s, an era of great experimentation in book publishing, as in other fields. Contributors here include William Burroughs, Charles Bukowski, Jack Kerouac, Gregory Corso, Henry Miller, Kenneth Patchen, and many others. Stamped "Printed by Hand in New Orleans USA" on the flyleaf; pages acidifying; minor cover creasing; about near fine in wrappers. [#032734] SOLD
7.
(Anthology)
Seattle, Owl Creek, 1986. An anthology reprinting works by numerous authors from the Northwest, including Raymond Carver, James Crumley, W.P. Kinsella, Barry Lopez, William Kittredge, Thomas McGuane, Tom Robbins, Ivan Doig, Ursula K. Le Guin, Tobias Wolff, and many others. This is the simultaneous issue in wrappers and is signed by Barry Lopez, William Kittredge, David Long, and Mary Clearman (as Mary Clearman Blew). Near fine. [#032735] $125
8.
(Anthology)
Seattle, Owl Creek, 1987. Nonfiction: the companion volume to the fiction collection From Timberline to Tidepool, with pieces by William Kittredge, Barry Lopez, David Quammen, Richard Ford, Ken Kesey, Thomas McGuane, John McPhee, Gretel Ehrlich, Ivan Doig, Annie Dillard, and others. This is the simultaneous issue in wrappers and is signed by Kittredge, Lopez, and Quammen. Near fine. [#032736] SOLD
9.
Minneapolis, University of Minnesota Press, (1974). Autobiography. Inscribed by Auchincloss: "For Pat - who witnessed so many of the early chapters of my family's life. Love, Louis." The recipient (apparently) has marked multiple sections in pencil and commented on one passage in which Auchincloss speaks of his parents' not knowing how much he was taunted at Groton as "an effeminate moron, a non-male, a repulsive, unsexed creature..." Near fine in a very good, tape-mended dust jacket. A nice inscription, to a longtime close friend. [#032737] SOLD
10.
Boston/NY, Houghton Mifflin, 1996. A collection of literary profiles by one of the preeminent American men of letters of his generation. Inscribed by the author: "For Pat - with Merry Christmas and all my love/ Louis/ Dec 1996." A couple of pencil notations in the text by the recipient, otherwise fine in a fine dust jacket. [#032738] $80
11.
NY, Ungar, (1986). A critical-biographical introduction to Auchincloss's work, in the "Literature and Life: American Writers" series. Inscribed by Auchincloss: "For my dear friend, almost my oldest friend/ Pat - from Louis." Fine in a near fine dust jacket with a bit of creasing at the spine base. [#032739] SOLD
12.
(Berkeley), The Figures, (1976). The lettered limited edition of the second book, a collection of poetry, by the author of The New York Trilogy, among many other novels, poetry collections, essays, and screenplays. Published in an edition of 526 copies, this is Copy "R" of 26 lettered copies signed by the author. Drenttel A2. Uncommon. Fine in wrappers. [#911001] $1,250
13.
(NY), Viking, (1972). An alphabet book, featuring pictures by Leonard Baskin and words by his wife, Lisa, and his children, Tobias and Hosea. Calligraphically inscribed: "For Pete & Oriole [Farb]/ with the affectionate regard of Lisa & Leonard. 1972." Also signed by Tobias and Hosea Baskin, (then 3 or 4 years old). Fine in a very good dust jacket with a bit of sunning and a couple short edge tears. Although Leonard Baskin was known to be generous with his signatures, this is doubtless uncommon signed by the three, especially with contemporary signatures. Winner of the Caldecott Medal. [#032740] $300
14.
(NY), New Rivers Press, 1974. The scarce hardcover issue of his second book, a collection of poetry. The total edition was 600 copies, of which only 200 were issued in cloth; 400 were issued in wrappers. Well-known these days as a writer of fiction and of essays on fiction, Baxter didn't publish his first novel until 1987, seventeen years after his first book (Chameleon) and thirteen years after this title. Inscribed by the author in 1982. Fine in a slightly rubbed, else fine dust jacket. [#911007] $1,000
15.
NY, Macmillan, (1965). The first book by the priest activist, arguing for social justice and in support of the Civil Rights movement. Warmly inscribed by Berrigan, "with wishes for Christ's wisdom and strength." Berrigan, with his brother Daniel and with others, organized or took part in a number of the most high profile civil disobedience actions of the 1960s and 70s, and into the 1980s. He served time in jail numerous times, as part of some of the famous groups of defendants of the period, including the Catonsville Nine, who burned the draft records of a Maryland draft board with homemade napalm; the Harrisburg Seven, who were accused of plotting to kidnap Henry Kissinger; and many more. Heavily mottled cloth; good in a very good dust jacket with a creased edge tear at the lower front corner. Introduction by Thomas Merton. Uncommon inscription. [#032741] SOLD
16.
Berkeley, North Point, 1987. The uncorrected proof copy of this essay collection reported to have had a first printing of only 900-1000 copies. Slightly dusty, else fine in wrappers. [#032742] $70
17.
NY, Knopf, 2002. The advance reading copy of this Montana memoir, with cover blurbs by James Crumley, James Welch, Kim Barnes, Deirdre McNamer, and Mary Clearman Blew. Tiny tap to spine; else fine in wrappers. [#032743] $45
18.
(San Francisco), City Lights, (1972). Apparently the dedication copy of this collection of Bukowski's stories published mainly in underground papers such as Open City and Nola Express. Inscribed by Bukowski: "Dedicated to Dix/ C.B.," but Bukowski has crossed out "Dix" and on the dedication page he's placed an asterisk after the printed dedication, "To Linda King," and added the footnote "*Dix's guardian angel." King and Bukowski had a turbulent five-year relationship in the early 1970s. The full, printed dedication here reads: "To Linda King/ who brought it to me and who will take it away." Given that Bukowski has first dedicated this copy to "Dix," and then crossed that out to asterisk King, "Dix's guardian angel," instead, this could easily be construed to be the dedication copy. Pursuing this line of thought, "Dix" (Dixon Steele) was the name of the lead character in the Humphrey Bogart film In a Lonely Place, in which an alcoholic screenwriter suspected of murder falls in love with a woman who saves him from the law and who has the potential to save him from his inner demons, if only he could stop feeding into her doubts about him. "Dix," as played by Bogart, would thus be an alter ego of Bukowski, and King the alter ego of "Laurel Gray," the character who gives Bogart the alibi that protects him. Mild sunning and a few small creases; near fine in wrappers. One of the more unusual and allusive Bukowski inscriptions we have seen. [#032744] SOLD
19.
(San Francisco), (Beach Books), (1966). A four-page typescript, signed by Burroughs, of his introduction to Claude Pelieu's book Revolvers Aimed... Finger Bowls, and two long galley pages of proofs corrected by Burroughs, plus one autograph note and one typed note from the publisher, pertaining to the book's front matter. Burroughs' introduction to his friend Pelieu's book is written in what appears to be the cut-up style of his Nova Trilogy. One line refers to "23 revolvers aimed at claude pelieu," and much of the rest is surrealistic in the typical style of his cut-up writings. A note in Burroughs' hand instructs the publisher to print it in one thin column, which the galleys reflect. Pelieu is known as the original French Beat writer, and was known as a postmodern poet and respected collage artist in his own right. He and his wife, Mary Beach, collaborated on a number of projects, and this book was to be published by Beach Books, and distributed by City Lights in San Francisco. Burroughs manuscript material seldom appears on the market these days, and this item represents Burroughs' work in collaboration with a noted and respected friend and artist. [#032745] SOLD
20.
1988. An original drawing by Wilson for Burroughs' 1989 book Tornado Alley. This image was included in the exhibition "Ports of Entry: William Burroughs and the Arts" that was mounted by the Los Angeles County Museum of Art in 1996, and it is reproduced on page 140 of the exhibition catalog. Interestingly, the illustration in the book does not show some of the work that Wilson did, as it was done using nonrepro blue pencil which does not show up when photographed: Wilson's edits didn't appear in Tornado Alley and they don't appear in Ports of Entry, but they are quite visible in the work itself. Wilson, one of the great artists of the underground comix of the 1960s and beyond, whom R. Crumb has said was a major influence on Crumb's own work, collaborated with Burroughs on a number of projects. This is not only a significant work of art, and a significant association with Burroughs, but it is also signed by Wilson, who has added, "To Nelson" next to his signature: Wilson gave this work to his friend Nelson Lyon, who loaned it to the exhibition and is listed in the book as one of the lenders to the exhibit. This is, in effect, a three-way association: Nelson Lyon was the co-producer of Burroughs' Dead City Radio, a 1990 album of Burroughs reading his work (including pieces from Tornado Alley) against a background of experimental music by various artists. 9-3/4" x 6-3/4". Matted and framed. Fine. A notable association copy, and an artifact of one of the great collaborations that Burroughs engaged in. [#028091] $7,500
21.
NY, Random House, (1965). His most famous book, a story of the cold-blooded killing of a Kansas family that was shocking in its day for its portrayal of the lives and thoughts of the killers, as well as its graphic violence, and a bestseller that redefined the boundaries between fiction and nonfiction and helped define the New Journalism of the 1960s. Inscribed by Capote to Ruth Ford: "For dearest Ruth/ much love/ Truman." Ford, the film and stage actress, who was the sister of Charles Henri Ford and a longtime friend of William Faulkner's in her native Mississippi, became known for the gatherings she hosted at her apartment at the Dakota building in Manhattan, with guests such as Edward Albee, Tennessee Williams, and Truman Capote, among many others. Ford had invited Capote to join Faulkner and herself for a drink at her apartment in 1951, when Capote was a young, up-and-coming writer and Faulkner was, of course, one of the great American writers of the day, having won the Nobel Prize for Literature a year earlier. In an anecdote recounted in Joseph Blotner's biography of Faulkner, a half-drunk Capote began disparaging Hemingway's latest novel and Faulkner called him up short on it. Ford collaborated with Faulkner of the play "Requiem for a Nun," in which she would star when it opened in 1959. In 1971, she starred in an ill-fated musical adaptation of Capote's The Grass Harp. An excellent association copy: Ford was at the center of the New York literary scene for decades, friends with virtually everyone and, by the time of the publication of this book, a friend of Capote's for at least 15 years. Unsigned, the book is not especially scarce in the first printing -- it had caused a sensation when portions appeared in The New Yorker, and therefore it had a large first printing; however, because of its soft paper dust jacket, it is a book that shows wear readily. There was a signed limited edition done, but signed or inscribed trade editions are relatively uncommon, and good association copies extremely scarce. This copy is fine in a near fine dust jacket with modest wear to the edges and folds, and is now housed in a custom clamshell case. [#032746] SOLD
22.
(Queensland), University of Queensland Press, (1988). The uncorrected proof copy of the true first edition (Australian) of Carey's first Booker Prize-winning novel. Signed by the author. Based on the size of the Australian publishing industry, as compared to that of the UK and the US, the original Australian first editions of Carey's books, especially those published by University of Queensland, a relatively small Australian publisher, are relatively uncommon. Proofs, because of their much more limited quantities to begin with, are even more scarce. Despite our focusing on proofs as a specialty, we've only handled the proof of this edition once previously, and have never handled a signed copy before. Vertical spine creasing; age-toning to pages; very good in wrappers. [#032747] $1,250
On Sale: $938
23.
NY, Trinity School, 1967. The literary magazine of Trinity School in New York City, where poet and later rock musician Jim Carroll went to high school, and where he was a star basketball player (and heroin addict) as recounted in his classic memoir of the 1960s, The Basketball Diaries. This issue of the school literary magazine is from January of Carroll's junior year and predates his poetry collection, Organic Trains, which is commonly referred to as his first appearance in print. The three poems, all of which remain uncollected, are "First Morning," "The Essence of Foam," and "Thinking of Frank O'Hara, Dead." Poet Frank O'Hara, of recent fame as the favorite poet of the character Don Draper of television's Mad Men series, set in the 1960s, was cited numerous times by Carroll as an influence on his own poetry, and on his wanting to be a poet. He had died in July of 1966. A rare, early appearance in print by a quasi-Beat counterculture poet about whom Jack Kerouac once wrote "At 13 years of age, Jim Carroll writes better prose than 89% of the novelists working today." Stapled wrappers; cover separated and spine fold starting on several pages; overall, about very good. Virtually unknown. [#032748] SOLD
24.
NY, Trinity School, 1968. The yearbook of Trinity School for Jim Carroll's senior year in high school. With only 30-some seniors in the then-all boys' school, each senior was given a whole page, including a formal portrait, a candid shot, a paragraph write-up of the student's strength(s), and a list of his extra-curricular activities. Carroll's writeup includes that he is "the first of the class of '68 to be published" and that he has "a surprise friendship with the 'Beat' poet Allen Ginsberg." Among his extra-curricular activities is, of course, his four years on the basketball team, of which he was captain in his senior year and "an annual 'All-Ivy' choice." There are at least three other photographs of Carroll in the yearbook and in addition there are senior pages for four of Carroll's friends who appear under aliases in The Basketball Diaries. Cloth torn on the front cover; overall very good. A scarce publication: with only 30+ seniors, it's likely that the overall print run for the yearbook would have been under 200, and perhaps under 100. We have never seen another offered for sale before. [#032749] SOLD
25.
(Sacramento), (English Club of Sacramento State College), (1968). Carver's first collection of poems and his first regularly published book: he had had two offprints of individual poems printed previously. An unknown number of copies were printed, generally thought to be between 100 and 200, with the lower number more likely. Most copies had disappeared long before Carver began to gain a literary reputation in the late 1970s. Previous owner name; two small, faint stains on the front cover near the spine; else fine in stapled wrappers. One of the scarcest first books of the latter half of the 20th century: despite Carver's universally recognized literary importance, only one copy of Near Klamath has ever appeared at auction, according to the two most widely used internet auction record sites, and that was 22 years ago. [#032750] SOLD
26.
(Santa Cruz), (Kayak Books), (1970). The rare white issue of Carver's first regularly published book (after Near Klamath, published by the English Club of Sacramento State College). Kayak Books was a small but established publisher, which produced a literary magazine as well as issuing books of poetry. Winter Insomnia is a collection of poems, designed and printed by George Hitchcock and illustrated with prints by Robert McChesney. Issued in an attractive edition of 1000 copies, the overwhelming majority (perhaps more than 99%) were issued in yellow wrappers. William Stull's Carver checklist said that three copies were known in the white wrappers. Since that checklist was published, we have seen three more copies in white wrappers, including this one, bringing the total number of known copies to six. Without knowing exactly how many white copies there were, we can say with assurance that this issue is exceedingly scarce; we've seen dozens, if not hundreds, of the issue in yellow wrappers. This copy is inscribed by Carver: "For Rush - with good wishes. Ray Carver. 3-3-83." Spine and edge sunning to covers; near fine. [#914629] $3,000
27.
Santa Barbara, Capra, 1974. Carver's first book of fiction, a single short story published in the Capra Chapbooks series in an edition of only 500 copies, according to William Stull's checklist. "Put Yourself in My Shoes" was later included in Carver's first story collection, Will You Please Be Quiet, Please? This is a fine copy of the issue in wrappers. Signed by Carver, with a correction to the text in his hand on the last page of the story. Wood block illustrations by Marcia/maris. [#032751] SOLD
28.
Santa Barbara, Capra, 1976. Copy No. 1 of the hardcover issue of Carver's third collection of poems. Of a total edition of 1100 copies, this is one of 100 hardcover copies signed by Carver. Slight evidence of dampness on the first few pages and the lower edge of the text block; near fine without dust jacket, as issued. Illustrated with drawings by Marcia/maris. [#032752] $850
29.
NY, Knopf, 1981. The uncorrected proof copy of Carver's second major story collection, and his first significant commercial success: the first of his books to be published by a mainstream literary publishing house, Knopf, and the first to go into multiple printings immediately after publication. Carver's relentless paring away of the excess in his stories, which earned him the label "minimalist" -- a designation he stridently rejected throughout his career -- is evident in this collection: two of the stories had been published earlier, in the collection Furious Seasons, but here are shorter and more spare (one of them also having been re-titled). Reproduces Carver's holograph corrections to the text, including a number of small word changes, excisions, and in one case the addition of a line to the end of a story. Signed by Carver. A remarkable glimpse of the stories as works-in-progress, up to and even after they had been typeset for publication. Several small spots to the covers; near fine in wrappers. [#032753] $1,500
30.
Worcester, Metacom Press, 1982. Copy "M" of 26 lettered hardcover copies of this single story by Carver. Signed by the author. There were 150 copies issued in wrappers; none of the 26 lettered hardcover copies were offered for sale -- half (one would assume A-M) were reserved for the author and half for the publisher. Fine. [#914634] SOLD
E-list: From the Library of Peter Matthiessen