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

A large archive of material spanning the whole of Burroughs' life, with emphasis on his career as a writer from the 1920s to the 1940s. Several thousand items including correspondence, unpublished manuscript material, photographs, and other memorabilia from his life and work. Thirty-three large binders sorted by date, plus additional unsorted extra material and a number of printed works. An archive that documents, week by week and sometimes day by day, ERB's life and work. Among the more than 3000 items in the collection are the original check Burroughs received for his first Tarzan story, numerous pieces of his war reporting that have never been published, an original typescript of a cross-country family trip, illustrated with original snapshots, a handwritten account written while he took his first flight in an airplane, and much more. Burroughs has been one of the most popular writers in American literature and an influential figure as well; his impact has been pervasive and ongoing. Tarzan was not only an adventure story, but an environmental morality tale with a critique of industrial society and an image of the "natural" man. One can find in his writing the antecedents of many contemporary strains of thought, including assumptions about who we are and our place in the world. The value of an unsullied natural environment and the sympathy for the animal kingdom mark Burroughs as ecologically-minded long before that term came into common use. Above all, Burroughs the writer was an entertainer, and in his creative life we see the beginnings of today's modern entertainment industry: he "branded" both himself and his creations, most especially Tarzan, and he diversified from pulp magazines and novels into radio, films, comic strips and commercial products of every stripe. The McDonald's Happy Meal with the movie tie-in character toy would not exist if Burroughs had not pioneered the kinds of linkage that such commerce represents. Like most of Hollywood -- where much of his work came into being in its most popular and accessible form -- we find in Burroughs the intersection of art and commerce, the alpha and omega of contemporary culture. A detailed inventory is available at our website, lopezbooks.com. [#017360] $375,000

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

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

Paris, Olympia, (1959). The first edition of his second book, one of the all-time great drug novels and a high spot of Beat and postwar American literature -- one of the three key volumes of the Beat movement, along with Kerouac's On the Road and Ginsberg's Howl. This is the first issue, without the New Franc stamp over the original old franc price on the rear cover. Published only in paperback in Paris by Maurice Girodias' important small press, in an edition of 5000 copies (comprising both "issues"), three years before it could be published in the U.S. This copy has a small, narrow stain to the lower corner of the first 20 pages and a couple of incidental bends to upper page corners; a near fine copy in a very near fine dust jacket nicked at the crown. A very nice copy of an important book. [#027182] $3,000

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

NY, Canaveral, 1964. Bookplate of another author on the front flyleaf and his address stamp on the pastedown under the front flap. Glue bleed through to the front joint; near fine in a near fine dust jacket. [#030497] $100

(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

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

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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