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

(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
NY, Knopf, 1983. The uncorrected proof copy of his third collection of stories to be published by a major trade publisher, and a major literary event that confirmed Carver's preeminent place among American short story writers of the day, and signaled a full-fledged resuscitation of the short story in American literature. Signed by the author. In addition, Carver has made a change to the text in the last paragraph of the story "Careful" and initialed and dated the change on May 30, 1983. The changed text was incorporated into the published version of the story, so this was apparently a working copy of the proof. Fine in wrappers with a tinge of spine sunning. [#032754] $1,750
Northampton, Basement Press, 1985. Of a total edition of 15 numbered copies, this is Copy No. 10, and is signed by Catheryn Yum, the book's designer and printer. Laid into this copy is a photocopy of the original autograph letter from Yum to Carver's publisher, requesting permission to reprint two stories for a project for her typography class. Interestingly, she wrote to McGraw-Hill, publisher of Will You Please Be Quiet, Please?, for permission to use two stories that she did not end up using. At the bottom of the sheet, Carver has written his personal reply to her, which reads, in part: "You have my permission, and gladly, for you to use the above mentioned stories in the manner in which you describe." Yum has appended a note on the same sheet indicating that this was the only response that Carver wrote himself; the permission to use the stories she actually ended up using, which came from a book published by Knopf, came in the form of "your basic form letter from a secretary." Also laid in is a photocopy of a two-page letter she wrote to Carver after the book was finished (apparently enclosing a copy for him), thanking him for his stories and his permission, telling him a bit about herself, and identifying the tipped-in illustration as "a hand drawn lithograph printed on a hand press." Clothbound. A fine copy of one of the scarcest Carver items, with some background information about it. No copy has appeared at auction; OCLC locates only 4 copies in institutional collections. [#032755] $1,500
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
(Chico), (Chico State University), 1960. The first issue of the Chico State literary magazine, of which Carver was a founding editor. The biographical introduction to the included William Carlos Williams poem, "The Gossips," is, as far as we can tell, the first piece of writing Carver published other than a 1958 letter to the editor of the Chico State student newspaper. The introduction gives a brief summary of Williams' life, a capsule summary and analysis of his poetry, and a brief, partial listing of the honors and awards he had won. Carver's first work of fiction, "Furious Seasons," was published in a later issue of Selection that same year. A very uncommon, early appearance in print by Carver. This copy bears the ownership name and address of Raymond Carver's brother, James. This is the only copy we have ever seen. Near fine in stapled wrappers. [#032756] $1,250
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
Santa Barbara, Capra Press, 1976. The hardcover issue of Carver's third collection of poems, and his second book to be issued by Capra. Of a total edition of 1100 copies, this is one of 100 numbered hardcover copies signed by Carver. Fine without dust jacket, as issued. Illustrated with drawings by Marcia/maris. [#912310] $750
(Santa Cruz), (Kayak), (1970). Carver's first regularly published book, a collection of poems, issued in an attractive edition of 1000 copies designed and printed by George Hitchcock and illustrated with prints by Robert McChesney. Bound in yellow wrappers printed in green. (A few copies were bound in white wrappers printed in green.) Signed by the author. Fine. [#912361] $750
Northridge, Lord John Press, 1984. A short story published as a limited edition. Of a total edition of 226 copies, this is one of 26 lettered copies signed by the author. Fine without dust jacket, as issued. [#912325] $500
(Salisbury), Scarab, (1982). Carver's first limited edition after his first brush with commercial success. Of a total edition of 100 numbered copies, this is one of 25 copies that were reserved for the author's use. Signed by Carver. Fine in saddle-stitched wrappers. [#912354] $500
Concord, Ewert, 1986. A collection of poems. Of a total edition of 136, this is one of 10 sets of advance sheets prepared by the publisher. Twelve 9" x 12" double flat gatherings printed on the rectos only, laid into a gray folding cardstock case, with a card laid in presenting the sheets with compliments, indicating the limitation, and signed by the publisher. A fine set of this rare advance issue. [#012110] $350
On Sale: $228
Concord, William B. Ewert, 1986. A collection of poems. One of 10 sets of advance sheets prepared by the publisher. Twelve 9" x 12" double flat gatherings printed on the rectos only, laid into a gray folding cardstock case, with a card laid in presenting the sheets with compliments, indicating the limitation, and signed by the publisher. A fine set of this rare advance issue. [#912317] $350
[Burlington], [Shadow Editions], [1986]. A large broadside, 20" x 15-3/4", on heavy white paper, originally issued together with a portfolio of photographs by Joel Gardner, son of John Gardner, the late novelist and a teacher, mentor and friend to Carver before he died in a motorcycle accident at age 42. There were only 60 sets of the photographs prepared -- 50 numbered sets and 10 lettered -- and an unknown, presumably small, number of copies of the broadside over and above those 60. Signed by Carver. Near fine with small moisture mark on upper right side. [#912330] $350
(West Hartford), (U. of Hartford), (1988). A photocopy of the original typescript of the speech Carver gave when he received an honorary Doctor of Letters degree at the university. The speech is transcribed in the program of the Commencement (a copy of which is included here). The typescript differs from the published version in paragraphing and in the deletion of one 17-word clause, which has been circled in ink on the photocopy -- thus providing an earlier view of the text of the speech. A rare ephemeral piece. The typescript is near fine; the program is fine. [#004067] $350
Concord, Ewert, 1987. The first publication of this story. One of 12 advance copies, signed by the publisher, William Ewert, but not by Carver. Fine in wrappers. [#912329] $325
Concord, Ewert, 1985. A small broadside poem on heavy, textured card stock, measuring 8-1/2" x 5-1/2". Like My Crow a year earlier, these were printed "for private distribution" as a holiday greeting. Of a total edition of 136 copies, this is copy 32 of 36 numbered copies signed by the author. Fine. [#912350] $325
Concord, Ewert, 1986. A holiday greeting issued by Ewert. There were 100 copies consisting of a single sheet, folded once; there were 26 lettered copies that were bound in brown wrappers, lettered, and signed by the author. This is letter M of 26 lettered copies signed by Carver. Fine. [#912353] $325
London, Collins Harvill, 1988. The uncorrected proof copy of a collection of seven stories for which there is no comparable U.S. edition. Five of the stories appeared in Where I'm Calling From -- copyright problems reportedly kept the publisher from reissuing the other stories included in that collection. Tiny, shiny spot to front cover; else fine in wrappers. [#912320] $175
London, Collins Harvill, 1987. This title was only published in England, and is a collection of poems from Carver's two Random House collections in the U.S. -- Where Water Comes Together With Other Water and Ultramarine. They have been rearranged, and an epigraph added to the collection that doesn't appear in either U.S. volume. Fine in a fine dust jacket. [#912326] $175
NY, Atlantic Monthly, 1988. The uncorrected proof copy of the trade edition, which was preceded by the Franklin Library edition. Where I'm Calling From is the definitive collection of Carver's fiction, published just before he died and containing therefore the "final" versions of many of his most important and frequently anthologized stories, as well as seven stories previously uncollected. Fine in wrappers. [#912358] $175
NY, Atlantic Monthly, 1988. The definitive collection of his fiction, published just before he died and containing therefore the "final" versions of a number of his most important and frequently anthologized stories, as well as seven stories previously uncollected. This is the uncorrected proof copy of the trade edition, which was preceded by the Franklin Library edition. Lip print on the epigraph page; first leaf loosening; one short and unnecessarily glued edge tear to front cover. Overall, still near fine in wrappers. [#004064] $125
One of 15 tear sheet reprints of an offprint from Studies in Short Fiction, Vol. 25, No. 4, 1988. The cover reproduces the table of contents rather than adding a typeset cover with title and author. Signed by Stull. Stapled; fine. [#019153] $125
NY, Random House, (1986). The uncorrected proof copy of his second major collection of poems. Near fine in wrappers. [#011391] $100
Franklin Center, Franklin Library, 1988. The correct first edition of this title, preceding the trade edition. Leatherbound; page edges gilt; with a silk ribbon marker bound in. An attractive edition in the Franklin Library's "Signed First Edition" series, with an interesting introduction by Carver which does not appear anywhere else. Signed by the author. Because Carver died shortly after the publication of this collection, signed copies of this title are uncommon, other than the Franklin Library edition. Carver prepared this volume knowing that he was dying of lung cancer, and many of these stories, although they had been published previously, were revised for this edition and stand as his definitive versions of them. Fine in publisher's original shrinkwrap. [#031646] $100
Port Townsend, Graywolf, 1984. The wrappered issue of the simultaneous trade edition. A collection of Kittredge's stories edited and with an introduction by Raymond Carver. Signed by Carver. Fine. [#912365] $100
London, Collins Harvill, 1989. The uncorrected proof copy of the first British edition of these posthumously published poems, many of them quite moving, and addressing his impending death quite straightforwardly, even bluntly, in his characteristic, plain-spoken manner. With an introduction by Tess Gallagher. Corner crease to front cover; near fine in wrappers. [#012741] $80
NY, New York University Press, 1970. The scarce hardcover issue of this uncommon volume, edited by Curt Johnson, publisher of the little magazine December, where some of Carver's earliest fiction was published in the 1960s. Includes "Sixty Acres" by Carver, his second story to be anthologized (Stull B2). Also includes work by Joyce Carol Oates and the first work of fiction by Rick DeMarinis, among others. Near fine in a very good, rubbed, price-clipped dust jacket. [#012680] $70
NY, Vintage, (1992). The uncorrected proof copy of the American edition. A posthumous collection, edited by William Stull and with a foreword by Tess Gallagher. Fine in wrappers. [#912333] $45
(London), Picador/Pan, (1985). The first publication in Great Britain of Carver's collected fiction, this being a volume with no U.S. equivalent, and including all three of his major collections: Will You Please Be Quiet, Please?; What We Talk About When We Talk About Love; and Cathedral. Only issued in wrappers. Slight age-toning to page edges and mild spine creasing; near fine. [#912347] $45
(n.p.), Fine Line Features, (n.d.). Production Notes for the Altman film. Thirty-five pages including bios of Carver, Altman and the cast and several pages on the genesis of the project. Stapled in upper left corner; near fine. [#912337] $30
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