All books are first printings of first editions or first American editions unless otherwise noted.
(PYNCHON, Thomas). SMITH, Zak
(Portland), Tin House Books, (2006). The first issue, with the original title, before Viking, Pynchon's publisher, forced a recall and a retitling to Pictures Showing What Happens On Each Page of Thomas Pynchon's Gravity's Rainbow. 760 pages of pictures, each page, well, showing what happens on each page of Thomas Pynchon's Gravity's Rainbow. The second issue had a new title label affixed to the front cover; there was also a hardcover issue that was re-titled by way of a slipcase. This, the issue in wrappers, is not only the first issue but is also signed by both Zak Smith and by Steve Erickson, who provides the introduction. Smith's images were shown at the Whitney Museum in 2004 and are now in the permanent collection of the Walker Art Center in Minneapolis. Uncommon first issue of a landmark creative imagining of Pynchon's magnum opus, one of the most highly praised and enigmatic books in American literature. A fine copy. [#032824] SOLD
NY/London, FSG/Virago, (2015). A hybrid advance copy of this collection of essays: American sheets bound into Virago wrappers to be used as a British proof copy. With a Virago press release laid in. Robinson's ninth book after four books of fiction and four books of nonfiction, which together brought her a Pulitzer Prize, two National Book Critic Circle Awards, and an Orange Prize. Although her fiction is most closely associated with the American Northwest and Midwest, her first work of nonfiction, Mother Country, exposed the downsides of a British nuclear reprocessing plant. These essays return to her mainstay themes of Calvinist liberalism. Robinson, who was interviewed by President Obama in 2015, received a National Humanities Medal from the President in 2012. Fine, but fragile: the perfect binding is not of the highest caliber. [#032825] $200
Garden City, Doubleday Doran, 1936. A novel by the prolific British author of the classic Fu Manchu series of fantasy novels, which were immortalized in a series of films, first in the 1930s and then again in the 1960s. Inscribed by Rohmer, "with love," and signed with his trademark "$ax." Bookplate front pastedown; spine-sunned; handling to boards; very good in a very good, modestly edgeworn dust jacket with a dusty rear panel. Books signed by Rohmer are uncommon these days, especially in collectible condition and in dust jacket. [#021689] $1,250
. January 4, 1968. A note addressed to legendary Random House editor Bertha Krantz, as "Dear Bert," thanking her for a card and then quickly adding that he has found two errors in the text of "PC" (Portnoy's Complaint), despite not having read the book through yet. He describes the errors (on pages 9 and 64) and asks if they can be corrected in the second printing and whether Bantam will print from the second printing. Signed: "Make love, not typos,/ Yrs, Philip." Roth's dating of this letter is itself likely a typo: the book's official publication was in February of 1969; the letter was likely written in January of 1969. A bibliographically significant letter, pertaining to Roth's best-known work. Folded for mailing; recipient's marginal mark; author's name on verso; near fine. [#911125] $1,500
NY, Simon & Schuster, (1993). A hardcover advance reading copy of this winner of the PEN/Faulkner Award and Time magazine's Book of the Year. Shot from proof sheets and bound in a quarter cloth binding with a paper label on the front cover and an unstamped spine. Although not issued as a signed edition, this copy is signed by the author. Small lower corner tap, very minor cloth sunning and some dustiness to cover label; near fine. A very unusual format for an advance copy. [#032826] SOLD
(ROTH, Philip). WOLFF, Geoffrey
1972. August 2, 1972. Nearly 600 words by Wolff (author of the memoir The Duke of Deception and the Harry Crosby biography Black Sun, among many others) of critical praise for Roth's novel The Breast, written in the form of a typed letter signed to an editor at Holt, Rinehart, Winston. Wolff describes in detail how he tried to resist the story and, in greater detail, the words and sentences that won him over. "It is an odd failing in a reader, odder in a fiction writer, to resist a story of metamorphosis, to resist that word's linguistic kinsman, metaphor. But the drag of what we are pleased to call reality is substantial, and the nature of its attractive power is not the least interesting question raised by this work of fiction...Roth has done...what the Dali painting could never do, suggest how it would feel to become your dream rather than merely see it...Thank you for trusting me with the manuscript." Typed on both sides of one page; folded in fourths for mailing, small corner staple holes; else fine. [#007249] SOLD
1960-2006. Approximately 40 Rothenberg items from Eshleman's library spanning the years 1960 -- Rothenberg's first book -- to 2006. Most of the items are signed or inscribed by Rothenberg to the poet Clayton Eshleman. The group includes Rothenberg's first book inscribed to Eshleman in the year of publication, and documents their ongoing relationship from a time prior to the publication of Eshleman's own first books (Mexico and North and Pablo Neruda, Residence on Earth, each 1962) and forward over the course of nearly five decades. The two poets shared not only a friendship but a strong interest in ethnopoetics, something that sets both apart from many of the other poets of their generation and links these two quite closely. Rothenberg's books were part of what Eshleman called his "core library," and the poetic and personal connections represented by these copies provide an important piece of the poetic history of their era. As follows:
- White Sun/Black Sun. (NY): Hawk's Well Press (1960). Rothenberg's first book, a collection of poems, published by a press that he founded to issue work by avant garde poets. Inscribed by Rothenberg in October, 1960 to Clayton Eshleman, "with warm best wishes." A nice association copy, linking the two poets from an early date, two years prior to Eshleman's own first book being published. In wrappers.
- Sightings/Lunes. (NY): (Hawk's Well Press)(1964). Inscribed by Rothenberg in 1965 to Clay[ton Eshleman] and Barbara: "these poems for light and all." The glue has failed on the tipped-in drawings by Amy Mendelson; the drawings are now laid in; otherwise near fine in wrappers. Also laid in is a small broadside printing "Sightings" by Rothenberg, with "Lunes" by Robert Kelly on the verso. In addition there is an announcement of the 1965 birth of Rothenberg's son.
- Ritual: A Book of Primitive Rites and Events. NY: A Great Bear Pamphlet, 1966. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "the pleasure of your company. Love/Jerry. Postdated: 8/11/79." Stapled wrappers.
- The Gorky Poems. Mexico: Corno Emplumado, 1966. A bilingual (English/Spanish) edition. Inscribed by Rothenberg to Clay[ton Eshleman] & Caryl in 1979, "con fuertes abrazos." With Eshleman's ownership signature, dated 1966. In wrappers.
- Between 1960-1963. London: Fulcrum Press (1967). Inscribed by Rothenberg to Clayton [Eshleman] & Caryl in 1979, "after between & with love." With Eshleman's ownership signature, dated in the year of publication. In wrappers.
- The Flight of Quetzalcoatl. Brighton: Unicorn, 1967. Translation of an Aztec myth/song, rendered into Spanish verse in the 16th century and then adapted into Spanish prose, from which this translation was done. Of a total edition of 426 copies, this is one of 26 lettered copies signed by Rothenberg and by Tony Bennett, who designed the cover. Stapled wrappers.
- The Book of Hours and Constellations. NY: Something Else Press, 1968. The poems of Eugen Comringer, "presented by" Rothenberg. Wrappers.
- Poland/1931. (n.p.): Unicorn Press (1970). The limited trade edition. One of 500 numbered copies, this copy inscribed by Rothenberg to Clayton [Eshleman] & Caryl. Unbound sheets and photographs, fine, inserted into pockets of hardbound portfolio.
- Poland/1931. The Wedding. (n.p.):(n.p.)(n.d.). Undated broadside printing only one poem. Inscribed by Rothenberg to Clayton [Eshleman]: "Year's Joys! Jerry/Diane/Matthew." Rothenberg has also corrected one misprint in the broadside. Folded in thirds and addressed as a letter to Eshleman by Rothenberg.
- Poems for the Game of Silence, 1960-1970. NY: Dial Press, 1971. Uncommon hardcover edition. Fine in a very good dust jacket with chipping to the edges and folds, internally tape-mended.
- A Book of Testimony. (Bolinas): Tree Books, 1971. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "in the warm aura of Italian/Latino music - Los Angeles Saturday - love." Wrappers.
- Poland 1931. (NY): New Directions (1974). The New Directions softcover issue of this title. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl with "happy welcome home" and "abrazos."
- Esther K. Comes to America. (1931). (Greensboro): Unicorn Press (1974). Poems from the "Poland 1931" sequence. Inscribed by Rothenberg to Clayton [Eshleman], "with admiration & thanks for the encouragements & challenge." Illustrated with posed photographs. One of 2000 copies in wrappers.
- The Pirke & The Pearl. Berkeley: Tree, 1975. Inscribed by Rothenberg to Clayton [Eshleman], "whose poetry continues to reveal, astound - in friendship." Self-wrappers.
- Seneca Journal Mid-Winter. St. Louis, MO: Singing Bone Press, 1975. A journal in a small, matchbox style box. Including a vertical accordion-folded book, several cards with illustrations, a folding map of the Five Nations, two seeds, some fur and a stalk/ribbon. Rothenberg spent two years living on a Seneca reservation in the 1970s. Uncommon, fragile, ephemeral work.
- The Notebooks. (Milwaukee): Membrane Press, 1976. Inscribed by Rothenberg to Clayton [Eshleman] and Caryl, "the pleasure of your company." Wrappers.
- Narratives and Real Theater Pieces. (Bretenoux): (Braad Press)(1977). One of 300 numbered copies, with woodcuts by Ian Tyson laid in. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "a book from the cove country. With love." In wrapper and dust jacket.
- Gematria 27. Milwaukee: Membrane Press, 1977. A book as a box of small cards, with text on one side and illustrations on the other, and two sheets of paper that give the history of the term "Gematria" and an example of the way the cards can be positioned as a whole. In a folding cardstock box that has been inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "with love" in the year of publication.
- A Seneca Journal. (NY): New Directions (1978). The softcover trade edition of this book that arose out of Rothenberg's time living on a Seneca reservation. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl "in the year of European voyages to come! Clear sailing! And love." Wrappers.
- Abulafia's Circles. (Milwaukee): Membrane Press (1979). One of 26 lettered copies signed by the author and additionally inscribed by Rothenberg to Clayton [Eshleman] and Caryl, "with love and friendship." Stapled wrappers.
- Two Sonnets. (London): Spot Press, 1980. One of 50 numbered copies signed by the author. Additionally inscribed by Rothenberg to Clayton [Eshleman] and Caryl, "voyagers in (still) mad California, another year. Love & friendship." Frontispiece by British artist Pip Benveniste. Oversized wrappers. Uncommon, attractive production.
- The History of Dada as My Muse. (London): Spot Press (1982). Of a total edition of 200 copies, this copy is designated "A/P" (artist's proof) and is signed by the author. Additionally inscribed by Rothenberg to Clayton [Eshleman] and Caryl, "these words from the DADA caves in love & friendship." Oversized wrappers. Uncommon, attractive production, and scarce in this proof state.
- Altar Pieces. Barrytown: Station Hill Press, 1982. Four poems, with collages by Patricia Nedds. One large sheet of cardstock, intricately cut and folded to make a 12 page booklet (including the covers). Signed by the author and additionally inscribed by Rothenberg to Clayton [Eshleman] and Caryl, "fellow travelers, with love."
- That Dada Strain. (NY): New Directions (1983). Inscribed by Rothenberg to Clayton [Eshleman] & Caryl: "voyages in subterranean flower worlds. With warm friendship," dated in 1983. Wrappers.
- The Riverside Interviews. London: Binnacle Press (1984). One of 350 copies. With the ownership signature of Clayton Eshleman. Wrappers.
- The Nature Theater of Oklahoma: Two States. (Madison): Woodland Pattern Broadside, 1986. Broadside; folded by design; signed by Rothenberg on rear cover and additionally inscribed by Rothenberg to Clayton [Eshleman] & Caryl: "from now until our re-uniting. With love."
- Khurbn & Other Poems. (NY): New Directions (1989). The hardcover edition of this collection of poems based on a visit to his family's ancestral home in Poland. Inscribed by Rothenberg to Clayton [Eshleman]: "Companion in these times in which there is only poetry to bring us through." Eshleman provides a lengthy blurb on the back of the dust jacket (the only blurb on the jacket) in which he says that Rothenberg "pulls Adorno's 'After Auschwitz, there can be no poetry' inside out, to read: 'after auschwitz/ there is only poetry.'"
- The Lorca Variations, I-VIII. La Laguna: Zasterle Press, 1990. One of 300 numbered copies. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl: "some more invasions from elsewhere, with much love." Rothenberg was working on translations of Lorca at the time he wrote these poems; both he and Eshleman have translated Spanish language poetry, in addition to sharing an interest in indigenous, tribal, and prehistoric arts. Wrappers.
- Apres le Jeu du Silence. (Marseille): CIPM, 1991. A French language edition. One of 850 copies. This copy is inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "to keep these in the files, of use as resource for the other language. With love to you both." Self-wrappers.
- An Oracle for Delfi. (Kenosha): Light and Dust Books/Membrane Press, 1994 (1995). Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "water language seeping/out. With friendship." Wrappers.
- Camera Obscura XXVIII. [Thessaloniki]: [Publisher in Greek], 1995. A single poem (in Greek) by Rothenberg, from An Oracle for Delfi, accompanying a sequence of photographs of hands. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "with warmest thanks for so much good! In friendship, ever." Stapled wrappers.
- Seedings and Other Poems. (NY): New Directions (1996). Wrappers.
- The Leonardo Project. (San Diego/Encinitas): (Self-published), 1998. A suite of 12 visual poems, originally commissioned for a Florence exhibit, A Supper with Leonardo, reproduced here in a photocopied miniature book "as a gift to friends who might be interested in it." Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "with love." Stapled pages.
- Despues de Auschwitz y Otros Poemas. NY: Pen Press, 2001. A Spanish language edition. One of 200 copies. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "companions into better places - with much love" and dated in the year of publication. Stapled wrappers.
- Dal Taccuino di uno Sciamano. (Loiano): Porto dei Santi (2001). A bilingual edition (English/Italian), one of 108 copies. Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "the exchange goes on - and the friendship. With much love." 4" square book. Wrappers with long string-tie, in striped dustwrapper.
- China Notes & the Treasures of Dunhuang. Tokyo/Toronto: Ahadada Press (2006). Inscribed by Rothenberg to Clayton [Eshleman] & Caryl, "all the way to Yang Pass and maybe beyond." In wrappers. Laid in is an email from Rothenberg from the following month, sending the poem "Blake's Babes: A Prophecy."
- Homage to Goya: The Sleep of Reason. (n.p.): (Ed.It)(2006). Prints "The Sleep of Reason," dedicated to Clayton Eshleman, with artwork by Ian Tyson. Author's proof ("AP") of an edition of 30 copies signed by Rothenberg and Tyson. Also inscribed by Rothenberg to the dedicatee, Clayton [Eshleman], and also Caryl: "our good companions over the decades." Two tall sheets, inter-folded.
- That Dada Strain. (n.p.): Center for Theater Science & Research (n.d.). Flyers announcing the premiere performance of Rothenberg's "That Dada Strain." Half dozen copies.
- Casa del Tiempo. (Mexico): Universidad Autonoma Metropolitana, 1985. Includes two poems by Rothenberg (in Spanish). Stapled wrappers.
- Announcement for a Reading. [Ypsilanti]: Eastern Michigan University, 1992. Program for a poetry reading by Rothenberg and Jayne Cortez at the university where Clayton Eshleman taught at the time of this reading. Includes a brief bio. One sheet folded to make four pages.
[c. 1990s]. Writings by the noted mystery writer (and poet), who is, among many other things, the author of the story, and later the novel, that were the basis for the well-reviewed film Drive. The materials here belonged to Sallis' friend Robert Skinner, of Xavier University Library, himself also the author of a highly praised series of mystery novels. A notable association, made all the more so by the fact that both Sallis and Skinner have written mystery series that feature non-white protagonists -- Sallis an African-American, Lew Griffin; and Skinner a Creole, Wesley Farrell, who has been passing for white -- and they also each have written books on Chester Himes, the expatriate African-American mystery writer whose novels laid the foundation for mystery series featuring black detectives with his books that featured Harlem cops "Coffin" Ed Johnson and "Gravedigger" Jones. Sallis wrote a Himes biography and Skinner edited a book of interviews and compiled a bibliography. The Sallis archive includes:
- the typescript (printout) of "George Pelecanos," which was published as the introduction to the 1999 St. Martin's paperback edition of Pelecanos' The Big Blowdown. With a few minor changes between this version and the published one. 4 pages.
- the typescript (printout) of "Introduction," published in the 1994 Avalon paperback edition of Chester Himes's A Case of Rape. 7 pages.
- the typescript (printout) of "Career Moves." 4 pages. Six vignettes about looking for work. Published in Potato Tree, 2007.
- the typescript (printout) of "Day's Heat." Fiction. 20 pages (plus a blank, numbered 21st page), 4170 words. Published in Sallis' collection A City Equal to My Desire, 2000.
- the typescript (printout) of "Uncles and Fireflies." An essay that pays tribute to his uncle; possibly unpublished. 4 pages.
- the typescripts (printouts) of three poems, one page each: "Dawn in the Country's Still Heart," "Our Drive into the Country's Still Heart," and "Reading the World."
- a typed letter signed to Robert Skinner, dated August 27, 1992. Touches on his own writing and on Skinner's work on Himes's unfinished novel Plan B (which Sallis calls Plan A). With mailing envelope.
- a holiday invitation, 1993, hand-addressed; a signed birthday card, undated, with envelope; an autograph postcard signed, 1995, from New York; a signed holiday card, undated; a signed holiday card, with added sentiment, 1995, with envelope; a signed holiday card, 1997, with envelope.
- a flyer announcing the publication party of Sallis' Black Hornet, a Lew Griffin novel; a flyer for a 1995 Sallis reading, which prints his poem "Art of Biography"; an unused promotional postcard featuring the cover art for Moth, another Lew Griffin novel; photocopy of a promotional flyer from No Exit Press, with mailing envelope; 3 promotional flyers from 1997; a 1999 printout of Iain Sinclair's review of Sallis' Eye of the Cricket, again a Lew Griffin novel, from Waterstones website.
- approximately 75 pages of printouts of emails from Sallis to Skinner, May 1996 to October 1997 (plus one page from 1999), and one printed email signed, 2000, that Sallis had to mail when it kept bouncing back to him. With envelope.
Indianapolis, Bobbs-Merrill, (1968). The galley sheets of this early play by Shepard, his first two-act play. Laid in are the galleys of Elizabeth Hardwick's introduction, dated 1967; Hardwick had reviewed the play for the New York Review of Books. At the time Shepard wrote La Turista, he was a member of the counterculture rock band The Holy Modal Rounders, which had a cameo appearance in the film Easy Rider. Shepard was nominated for an Academy Award for his role as test pilot Chuck Yeager in The Right Stuff; he won a Pulitzer Prize for Drama in 1979 for Buried Child, and he won eleven Obie awards and was nominated for two Tonys, for Buried Child and True West. He received the Gold Medal for Drama from the American Academy of Arts and Letters in 1992. Claspbound, printed on rectos only, front cover tanned and separating; rear cover has date and price and "DUPL NYPL." Front cover has the name of Paul Myers, curator of the Theatre Collection at the New York Public Library. Very good. A fragile and rare early state of this play by one of the most important playwrights of the latter half of the 20th century. The only copy of the proof we have seen. [#027093] $2,500
SMITH, Tom Robb
NY, Grand Central Publishing, (2008). The advance reading copy of his debut novel, the first in a trilogy, which caused considerable buzz when it was optioned for a film to be directed by Ridley Scott. (The 2015 film was directed by Daniel Espinosa and produced by Scott.) Set in Stalinist Russia, the plot involves a Russian secret police officer who is framed by a colleague for treason and stumbles on a series of child murders which he attempts to solve despite being on the run for his life. Signed by the author. Slight spine roll, else fine in wrappers. Laid in is a printed flyer entitled, "How Do You Solve an Impossible Crime?" Winner of the CWA Silver Dagger Award and longlisted for the Man Booker Prize, a somewhat unusual honor for a thriller. [#029531] SOLD
NY, Pantheon Books, (1986). Spiegelman's acclaimed historical novel of the Holocaust written in comic strip form, which was a huge commercial success and the winner of the Pulitzer Prize, an unprecedented accomplishment for a comic art novel. Signed by the author, with a drawing of the main character of the book. Small crease across the spine and rear panel; near fine in self-wrappers. There was no hardcover issue of this title, and the first printing is quite uncommon, especially signed. [#032827] SOLD
(n.p.), (n.p.), [ca. 1971]. 11-page carbon typescript with some holograph emendations, of an article which was published in The Guardian in the U.K. in 1971 and never published elsewhere. The Guardian gave Stone his press credentials and paid for his trip to Vietnam, and this is the only nonfiction he wrote about what he encountered there. After he returned from Vietnam, his next novel, his second overall, was Dog Soldiers, about a reporter and a Vietnam vet smuggling heroin back to the U.S. from Southeast Asia. Dog Soldiers won the National Book Award and was made into the acclaimed Nicholas Roeg film, "Who'll Stop the Rain?" Several of the anecdotes in this article were lifted and inserted directly into the novel, and the overall tone -- mordant humor in the face of grim misery -- is also shared by the book. No manuscript copy of this piece was in the Robert Stone archive when it was sold to the New York Public Library, nor in any of the updates that have been sold since. A key item in Stone's overall body of work. Stone won the National Book Award once and was a finalist five times, putting him in a very small category of writers that includes such figures as John Updike, Saul Bellow, and Vladimir Nabokov. Slight edge wear to the pages; overall very good. Signed by Stone. Unique. [#032828] SOLD
London, Secker & Warburg, (1975). The first British edition of his National Book Award-winning second novel, inscribed by the author to his bibliographer, Ken Lopez, "with best wishes." An unaccountably scarce edition: reportedly 2500 copies were printed but it turns up very seldom, far less often than the British A Hall of Mirrors, which is reported to have had a first printing of only 1000 copies. One of the best novels to link the impact of the Vietnam war on American society in the Sixties to the dark side of that era -- the official corruption and the underside of the drug experiences of a generation. Faint marks on foredges and endpages; near fine in a near fine dust jacket with some of the usual fading to the spine lettering. Without question, the scarcest of Stone's trade editions: we've carried this edition only a handful of times over the years. Offered together with a signed copy of Robert Stone: A Bibliography (Hadley: Numinous Press, 1992), Copy 86 of 250 numbered copies, with a previously unpublished piece by Stone: the transcript of an impromptu talk Stone gave at the Library of Congress for the 10th anniversary of the PEN/Faulkner Award, 1989, on the origins of his writing. Fine in a fine dust jacket. [#914687] SOLD
(n.p), (n.p.), [ca. 1983]. In 1983, Robert Stone, National Book Award-winning novelist, was commissioned to write a piece on George Orwell and his dystopian novel Nineteen Eighty-Four, as that calendar year approached. In the piece, Stone made an effort to reclaim Orwell from the conservative right wing, which had taken his most famous, anti-totalitarian novels -- Nineteen Eighty-Four and Animal Farm -- to be explicit condemnations of the Soviet Union and Communism, and by implication all leftist thought itself. Instead, Stone argues that Orwell's writing in Homage to Catalonia -- not to mention his fighting on the Republican side in the Spanish Civil War -- identifies Orwell as someone with both a socialist sympathy and "a certain affinity with what I believe is best about the United States," a kind of Puritanism that is characterized by "rectitude...conscience and common sense." He goes on to point out that Orwell "was the sort of radical who makes enemies on both sides of epic struggles," owing to his "originality and intelligence, [and] above all his thoroughgoing honesty, [which] always got him in trouble. A writer and man more predictable and dull, less infernally scrupulous would have had a better time of it." Stone adds that Orwell was idealistic but non-ideological -- as Stone was himself -- and deeply committed to the kind of "pragmatism that has characterized American moral thinkers from Jefferson to James to Neibuhr." He concludes that "We may never produce a greater political novel than Nineteen Eighty-Four" and that "it has done its work for us" in shaping our fears and cautions sufficiently for us to have avoided the totalitarian dystopia that was latent in the post-War years of the Cold War. The confluence of writer and subject here was, in many ways, a near-perfect one but the piece seems never to have been published; we can find no record of it; a cover letter from Stone's wife, Janice, indicates this was done for Thames Television, but whether it was produced or used remains unknown to us. One of Stone's novels includes an allusion to a critical moment in Nineteen Eighty-Four: Stone's character explains that one has "to look the gray rat in the eye" -- an allusion to the torture by rats that Winston Smith, in Nineteen Eighty-Four, is faced with, which causes him to "break" and betray himself and his loved ones. 18 pages, ribbon copy typescript, with Janice Stone's cover letter, laid into an agent's folder. Fine. An unknown Robert Stone piece, on a subject that touches close to many of the central and pervasive themes of his own writings. Unique. [#032829] $8,500
Indianapolis, Bobbs-Merrill, (1951). Styron's first book, inscribed to the writer Jonathan Carroll: "with best wishes/ William Styron/ 27 September 1971/ (Twenty years, to the month, after publication)." The date is also nine years before Carroll's first published book, The Land of Laughs. Laid in is a typed note signed by Styron in which he agrees to the signing; based on the address, Carroll would have been an English teacher at the time, in North Carolina. The book is unevenly sunned on the cloth and bears a few small stains; very good in a jacket with modest edge wear including one edge tear, and a vertical crease to the spine; still very good. The note is folded, else fine, with a chipped mailing envelope included. A nice association copy of an important first novel. Forty years after this inscription, on the occasion of Styron's death in 2011, Carroll wrote a blog post on his website, referring to Styron as a "great American novelist." [#026147] $1,500
Undated. A handwritten copy of "The Book of Lies" from Tate's collection The Lost Pilot, which was a Yale Younger Poets selection in 1967. Written in ink, with one pencil correction to the text. Inscribed "For Stan Wiater with all best wishes - James Tate 30 August 79." Some offsetting to the paper, indicative of the sheet having been matted and mounted differently than it currently is; near fine, framed. Tate was a Pulitzer Prize- and National Book Award-winning poet, and he and Wiater both lived in western Massachusetts, where they became friends over the years. [#032830] SOLD
NY, Knopf, 1972. The uncorrected proof copy of her fourth book, and the first in which she settles her character in Baltimore, where most of her future characters will find their homes. Scarce: this is only the second proof copy we've ever seen, and we've never seen any earlier proofs of hers on the market. Literary agency stamp (of Warren Bayless Agency, rather than of Russell and Volkening, with whom Tyler is usually associated) to half title and final page of text. Spine slanted and creased; some foxing to covers and page edges; still at least very good in wrappers and protected by a custom clamshell case. [#027120] SOLD
NY, McGraw-Hill, (1976). One of the first of the personal accounts to come out in the aftermath of the war, and one of the angriest. Of all the memoirs prompted by experience in Vietnam, this one still resonates with a bitter irony that has not been surpassed, and is a vivid reminder of the human costs of that war. Made into a film for which Oliver Stone won an Oscar as director; he also co-wrote the screenplay with Kovic, who was played by Tom Cruise. The book is inscribed by the author in the year of publication: "For my good friends the Applebys, with peace and love." Foredge foxing; near fine in two near fine dust jackets. [#032831] SOLD
(Middlesex), Penguin Books, (1969). First thus, a British paperback reissue of her 1968 "pamphlet" about -- and against -- the war, including an account of her trip to Hanoi as well as an exchange of letters between the author and Diana Trilling about the implications of abandoning the war effort in Vietnam. Inscribed by the author: "To dear Peggy, with much love from this revenante, Mary McCarthy." The inscription appears below the author bio in the book, and McCarthy has edited her biographical information, crossing out that she is a contributor to The New Yorker and that she lives in Manhattan and spends [only] part of the year in Paris. Age toned pages, several shallow abrasions near the spine, affecting the "H" in Hanoi. Very good in wrappers. [#032832] SOLD
(Woodgate), (Woodgate International), (2001). Bound photocopied typescript -- used as a review copy -- of this unpublished novel of the Vietnam war, focusing on an American working with a highland tribe who falls in love with a Vietnamese woman. The author served as a Marine translator-interrogator in Vietnam in 1966-1967, including a stint with one of the highland tribes, the Bru. With a typed letter signed from Peduzzi to a well-known novelist, requesting endorsement. Also included is a one-page plot summary. 302 single-sided pages, tapebound with illustrated cover and plastic overlay. A substantial, never-published novel of a little-known part of the war. Vertical crease to rear cover; else fine. [#029844] SOLD
VONNEGUT, Kurt, Jr.
Hollywood, The Wanda June Co., 1971. Vonnegut's first screenplay, for the 1971 film based on his stage play, which opened off-Broadway in 1970 and then moved to Broadway for a successful, although relatively short, run. This copy is identified on the front cover as a "Rehearsal Script" and dated March 25, 1971. Signed by Vonnegut on the front cover, with the added comment: "Genuine Relic." 8-1/2" x 11" sheets, printed on rectos only. Several penciled corrections in the text; claspbound in cardstock covers; faint coffee ring on rear cover; near fine. Rare. [#009540] $1,750
NY, HBJ, (1988). A collection of short prose pieces. Inscribed by Walker to her editor, John Ferrone: "To John Ferrone, editor, this bouquet of essays that bloom clearer for his gently pruning hand. Love & thanks, Alice/ 7-14-88." Ferrone was Walker's editor for years, including working with her on The Color Purple. According to the Evelyn C. White biography of Walker (Alice Walker: A Life), "While she appreciated Ferrone's craft, she confided that she felt mismatched, increasingly, with the white male editors she'd been assigned at Harcourt since 1968," and she requested a new editor for Possessing the Secret of Joy, a novel of African female genital mutilation. Two paper stocks used, one of which is gently toned; near fine in a near fine, spine-sunned dust jacket. [#032833] SOLD
Barre, Barre Publishers, 1972. "Poems in Wood." Woodcuts by Wang of poems by people he knew personally, including Charles Simic, Robert Bly, William Stafford, James Tate, David Ignatow, Robert Francis, and others. Inscribed by Wang: "For P & O. Hope that they will enjoy this book as I carved it." Minor sunning and handling to covers; near fine in wrappers. [#032834] $100
NY, Harcourt Brace, (1949). A collection of stories set in the fictional town of Morgana, Mississippi. Signed by the author. Slight age-toning to pages; near fine in a very good, lightly sunned dust jacket with a small edge tear at a lower fold and a very tiny hole mid-spine. [#032835] SOLD
San Diego/NY, Harcourt Brace Jovanovich, (1991). First thus, the 50th Anniversary edition of her first book. Inscribed by Welty to her long-time editor, John Ferrone: "To John/ in appreciation and gratitude for all you have done for the stories, old and new, that I've written, and for me - and with love, Eudora/ New York/ November 21, 1991." Ferrone had been the editor on Welty's National Book Award-winning The Collected Stories of Eudora Welty. Fine in a fine dust jacket. [#032836] SOLD
NY, Harper & Row, (1977). A collection of White's essays, extending back over the whole of his career to that point. Inscribed by the author to Ethel Marx, "with greetings" and signed "E.B. White." White selected the essays himself, and for a number of them it is their first book publication. This volume was issued to complement the recently published Letters of E.B. White. Modest foxing to the page edges, thus very good, in a near fine dust jacket. Books signed or inscribed by White have become increasingly uncommon. [#032837] SOLD
WILLIAMS, Terry Tempest
Eugene, Lone Goose Press, 1992. A broadside excerpt from her memoir, Refuge. Copy number 32 of 100 copies, with brush lettering by Marilyn Reaves. In part: "I pray to the birds because I believe they will carry the messages of my heart upward... I pray to the birds because they remind me of what I live rather than what I fear. And at the end of my prayers, they teach me how to listen." Signed by Williams and Reaves. 16-1/2" x 9-3/4" inches. An elaborate production, printed and bound by Sandy Tilcock in a cloth portfolio. Fine. Scarce: OCLC locates only three copies. [#032838] SOLD
WILLIAMS, Terry Tempest
(Moab), Back of Beyond Books, (2016). A fine press limited edition, publishing one chapter from Williams' book The Hour of Land: A Personal Topography of America's National Parks, celebrating the 100th anniversary of the founding of the National Park Service. This volume excerpts the longest chapter in the book, on Canyonlands National Park in Williams' home state of Utah. Illustrated with five original tipped-in black-and-white photographs by five different photographers, which were not included in the trade edition. Printed by hand on a Vandercook Universal III letterpress on Velin D'ARCHES 100% cotton paper mouldmade in France, by Rob Buchert at Tryst Press in Provo Utah. Designed by David Jenney Design and bound in a silk blend by Roswell Book Bindery in Phoenix. Limited to 100 numbered copies signed by the author. Fine. At the list price. [#032729] SOLD
[ca. 1970s]. Undated. An original watercolor comic drawing: a lab scientist speaking to a corporate type behind a desk says, "Turns out it's not fire proof after all!" as a small child in pajamas, engulfed in flames, screams beside him. Signed "Gahan Wilson, another signature for Stan Wiater." Wiater is a horror writer, editor and anthologist; Wilson, known for his dark fantasy and horror illustration, designed Wiater's bookplate, the only bookplate design he has done. Framed; near fine. [#032839] SOLD
(NY), Delacorte, (1984). The uncorrected proof copy of his next-to-last novel. Uncommon, especially compared to the proof of his preceding novel, Liars in Love. Tiny numbers in the upper corner of about a half dozen pages throughout the book seem to be marking some kind of countdown (+:22, -2:00, -1:50, -1:30, -1:20, -1:00). The number 10 is written on the spine crown; handling apparent to covers, otherwise a near fine copy in wrappers. [#032840] $100