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

1979-1991. In the early 1980s, Burroughs collaborated with S. Clay Wilson on the German editions of Cities of the Red Night [Die Stadte der Roten Nacht, Frankfurt: Zweitausendeins, 1982] and The Wild Boys [Die Wilden Boys, Frankfurt: Zweitausendeins, 1980]. This archive includes:
  • correspondence related to this and other collaborations between Burroughs and Wilson, as follows: from 1979 to 1982, six items from the publisher to Wilson; from 1979 to 1985, three items from Burroughs' associate James Grauerholz to Wilson; and from 1985 to 1995, eleven items from Burroughs to Wilson. The earlier items, from the publisher and from Grauerholz, generally solicit drawings, convey approval for ideas, and give progress updates. The later items, from Burroughs himself (one typed note signed; four autograph postcards signed; six autograph cards signed), are more personal, frequently conveying gratitude for a gift or appreciation of Wilson's work. In one, Burroughs (according to a pencil note by Wilson, he is referring to The Chequered Demon) says "vintage Clay Wilson hilarious, horrible disgusting as life itself...Its fine its swell itsa gawdy taste of Hell." In another, in a card picturing a unicorn, Burroughs asks, "Did you see the Barnum & Bailey unicorn? I suspect it to be a goat." Several of the cards are holiday cards, and in one Burroughs wishes "All the best for 1986 and the time remaining to us all." In the last two items, Burroughs thanks Wilson for, respectively, the Graham Greene stories and for a cat book. He also complains about the heat: "Over 100 now for a week. Can't do anything but sit in my air conditioned house." This last card is signed "Bill Burroughs." All of the Burroughs' correspondence items (excepting the postcards) have envelopes; one of the postcards is near fine; the others are fine; many depict Burroughs' artwork.
  • three original pen-and-ink S. Clay Wilson illustrations for the German edition of Cities of the Red Night. Wilson was one of the group of artists who gained exposure in the underground comix of the 1960s counterculture. After R. Crumb, he is probably the best known of that group, and his images are almost certainly the most extreme: all of the underground comic artists sought to break barriers and defy convention, and Wilson's images are densely packed and full of overt sex and violence to a nearly unthinkable degree. In this he was very much like Burroughs, whose verbal imagery sought to shatter all barriers, preconceptions and hypocrisies; the collaboration between the two of them seems in retrospect to have been inevitable. These drawings were displayed at the Los Angeles County Art Museum in the show "Ports of Entry: William Burroughs and the Arts," which sought to convey the influence Burroughs has had on visual arts. Extraordinary images, and probably the best illustrations ever of Burroughs' writings. Burroughs himself appears as a character in one of the images. Two of the images are 5-1/4" x 9", the third is 5-1/4" x 10"; all three are matted and framed to approximately 16" x 19". Also together with the original layout and lettering for the title page of the book: three hand-lettered sheets and one printed sheet.
  • a trial edition of the German edition of The Wild Boys, rejected by Wilson, who was displeased with the endpapers, signed by Wilson; Wilson's own copy, bound in Niger goat and snakeskin, signed by Wilson and inscribed by Burroughs to Wilson. and the first German edition, signed by Burroughs and Wilson. Wilson's copy is fine in a custom folding chemise; the other tow have a bit of edge-rubbing and are otherwise fine in the publisher's slipcases.
  • the German edition of Cities of the Red Night, signed by Burroughs and Wilson. Fine in slipcase.
A unique archive of an exceptional collaboration. [#027555] $40,000

Undated. Burroughs, whose Naked Lunch, Soft Machine, and numerous other works helped define the Beat generation and redefine the psychedelic novel, also worked in the visual media from the early 1950s on, experimenting first with collages and later with what he called "nagual art" -- art infected by chance, which had the possibility of giving the viewer access to what Burroughs called a "port of entry," an access to a different universe or a different way of seeing our own. In writing, Burroughs adopted the "cut-up" technique, with Brion Gysin, to achieve similar ends: a final product that was, in part, a product of chance or, at the very least, forces beyond the artist's direct control and manipulation. Oil and perhaps spray paint. Signed by Burroughs. 17-1/2" x 23". Fine, framed. [#017959] $8,500

1988. An original Burroughs painting, which became part of the Seven Deadly Sins exhibition at The Writer's Place, Kansas City, Missouri, in 1993. Acrylic and spray paint on poster board: a gold triangle and heart spray-painted against a background acrylic image of black, blue and gray. Signed by Burroughs. 20" x 32". Mounted and framed to 24" x 36". Fine. [#024825] $7,500

Paris, Olympia, (1959). The first issue of the first edition of his second book, a high spot of Beat and postwar American literature -- one of the "big three" volumes of the Beat movement, along with Jack Kerouac's On the Road and Allen Ginsberg's Howl. Published in paperback in Paris by Maurice Girodias' small press, in an edition of 5000 copies, three years before it could be published in the U.S. Signed by Burroughs in 1996. Uneven sunning and a bit of creasing to the covers; rubbing to the folds. A very good copy in a supplied, near fine dust jacket with a small chip at the crown. Burroughs signed this for a bookseller in Lawrence, Kansas, where he lived during the last years of his life. [#024504] $4,500

1965. Burroughs responds to Berendt, future author of Midnight in the Garden of Good and Evil, who had written to Burroughs in his capacity as Associate Editor at Esquire Magazine, inquiring as to whom Burroughs would like to have portray him in a hypothetical film biography. In a typed paragraph, Burroughs chooses himself. In part: "A writer has no life story apart from his writing so any biography of a writer is fictional. Proceeding from this proposition I cast myself as myself in a biographical film since I write my own biography as I go along..." A short typed letter signed by Burroughs serves as a cover letter, sent by air post from England with Burroughs saying he has been traveling and hopes he has not missed the deadline. More than 150 words total; two pages, folded for mailing, stapled in the upper corner; fine. With hand-addressed air mail envelope. [#029058] $2,000

NY, Ace, (1953). Burroughs' pseudonymous first book, a paperback original bound back-to-back with Maurice Helbrant's Narcotic Agent. Junkie was a straightforward narrative of Burroughs' experiences with drugs; the publisher chose to release it couched in an anti-drug context, as a first person example of the horrors of drug use, and bound with a narcotic agent's memoir. A couple small spots of rubbing; darkening to page edges, else near fine, with the spine square and no creasing to it. Very uncommon thus. [#914626] $1,500

(NY), Grove Press, (1959)[c. 1962]. The first American edition of this classic novel of the Beat generation, which was not published in the U.S. until three years after its Paris publication, and until a legal challenge to its banning was successful. Such authors as Norman Mailer testified as to the literary value and accomplishment of Burroughs' work. Basis for the 1991 David Cronenberg film featuring Peter Weller, Judy Davis, Ian Holm, Julian Sands, and Roy Scheider. Slightly bowed, lower rear corner bumped, near fine with the topstain bright, in a fine dust jacket with a couple of tiny nicks at heel and a tiny bit of rubbing at the rear spine fold. [#911012] $1,200

Tarzana, Edgar Rice Burroughs, Inc., (1931). The first hardcover book published by Edgar Rice Burroughs, Inc. -- an attempt by Burroughs to capitalize on the success of the Tarzan franchise as publisher as well as writer -- and featuring jacket art by Burroughs' nephew, Studley O. Burroughs, one of Burroughs' several attempts to turn his success with Tarzan into a family business. Slight spine lean and shelf wear, with a faint stain at the heel; still about near fine in a fine, supplied dust jacket. A very attractive copy. The dust jacket includes a short essay by Burroughs remarking on the (to him) surprising popularity of the Tarzan character worldwide, and citing the range of its appearances. [#030698] $900

(Gottingen), (Expanded Media Editions), (1973). First thus, a bilingual (English/German) reprint of the original Unicorn Press edition. Mildly edge-darkened covers; near fine in wrappers. [#019425] $100

(Milwaukee), Dark Horse Books, (1995). The limited edition. Copy 863 of 1000 copies signed by Danton Burroughs beneath a facsimile of his grandfather's (Edgar's) signature. Fine in a fine dust jacket. [#031292] $65

NY, Canaveral Press, 1962. First thus. Illustrations by Frank Frazetta. Bookplate of another author on the front flyleaf. Near fine in a very good, rubbed dust jacket with light edge wear. [#030496] $50

(Milwaukee), Dark Horse Books, (1995). Signed by Lansdale. Fine in a fine dust jacket. [#031291] $50

Evergreen, Cazedessus, 1973. A fanzine, this issue with cover art by Curt Pardee. Inscribed on the cover by Pardee: "For Steve of [sic] when I'm rich and famous, Curt Pardee!" Near fine in stapled wrappers. [#030498] $25

North Hollywood, Fantasy House, 1974. First separate appearance, as Fantasy Reader 5. Fine in stapled wrappers. [#030499] $20

(Hadley), Ken Lopez Bookseller, (2005). A catalog/brochure describing the Burroughs archive previously known as the "Vaduz archive" and printing in facsimile a number of items from the archive, including Brion Gysin calligraphy, photographs of Burroughs and others, visual poetry by Burroughs, and other items. An overview of the archive, with description of its contents and essays on its history and importance in the context of 20th century literature. The archive was purchased by the Berg Collection at the New York Public Library, which also purchased the Jack Kerouac archive a few years ago. Fine in wrappers. [#024827] $20

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