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Catalog 102, H-K

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146. HAMILL, Pete. The Gift. NY: Random House (1973). The uncorrected proof copy of the author's third book, a short Christmas novel. Inscribed by the author in 1975. The final page has amended text taped over the printed page, revealing underneath an earlier, unpublished version of the book's ending. A few spots to cover; else fine in tall wrappers.

147. HAMILL, Pete. Flesh & Blood. NY: Random House (1977). A boxing novel, which is also in part autobiographical, describing details of the author's upbringing as a tough street kid in Brooklyn. Inscribed by the author in the month of publication. Fine in a fine dust jacket.

148. -. Same title, the uncorrected proof copy. Fine in tapebound wrappers. The unusual format of the binding suggests that few copies would have been done.

149. HAMILL, Pete. Dirty Laundry. NY: Bantam Books (1978). A paperback original mystery novel about a cynical, street-smart New York reporter, much like the author himself. Inscribed by the author in 1979. Fine in wrappers.

150. -. Same title, the advance reading copy. Near fine in printed orange wrappers. Advance copies of paperback originals are uncommon.

151. HAMILL, Pete. Doc. NY: Paperback Library (1971). The text of the screenplay, written by Hamill, for a movie about Doc Holliday and Wyatt Earp, which starred Stacy Keach and Faye Dunaway. Only issued in paperback, and illustrated with shots from the movie. Inscribed by the author in 1975. Fine.

152. HAMILL, Pete. "Hamill on Prague Castle." c. 1990-1991. The typescript of an article Hamill wrote for Art & Antiques magazine on the character of Prague and of Hradcany Castle. Fourteen double-spaced pages (computer printout) with accompanying disk showing the article last revised "01-02-80." Together with an autograph note signed transmitting the article and a hand-addressed envelope. Also together with a letter from the Czech Embassy in D.C., dated 1992, thanking an editor at the magazine for a copy of the article. From earlier in the timeline, there is a photocopy of a February 1989 letter from Hamill offering to do some articles for Art & Antiques and a November 1989 autograph letter signed apologizing for the delay and reaffirming his interest in finishing the "Klimt piece." (Although Klimt is mentioned in the above article, it is not a piece on Klimt.) With hand-addressed envelope. A few items folded, but otherwise fine. For all:

153. HARRISON, Jim. Farmer. NY: Viking (1976). The first printing of Harrison's third novel, made into the movie "Carried Away" with Robert Duvall. Because of binding problems, the first printing of this book was withdrawn and reprinted. Laid in is a photocopy of the letter from the publisher announcing the recall of the first issue and plans for replacement of all copies with "a completely new first printing." Dampstaining across lower front cover and spine of boards and jacket. Very good.

154. HARRISON, Jim. Letters to Yesenin. Fremont: Sumac (1973). A collection of poetry by the author of Legends of the Fall, among others. Of a total edition of 1126, this is one of 1000 copies in wrappers. Trace rubbing to the edges and folds; near fine. Inscribed by the author with a humorous self-caricature.

155. HARUF, Kent. The Tie that Binds. NY: HRW (1984). The advance reading copy of this well-received first novel. John Irving blurb. Fine in wrappers.

156. HEARON, Shelby. Armadillo in the Grass. NY: Knopf, 1968. First novel by this author who originally comes from Kentucky but has lived in Texas for a long time and writes about the Southwest. Her second novel won an award from the Texas Institute of Letters. Inscribed by the author with a drawing of an armadillo that looks quite a bit like a raccoon (or may be a raccoon?). Fine in a near fine dust jacket that is lightly rubbed on the front panel and slightly faded on the spine. An attractive copy of an uncommon book.

157. HEMINGWAY, Ernest. Selected Letters 1917-1961. NY: Scribner (n.d.)[c.1980]. The uncorrected proof copy of this massive (900+ pages) collection of Hemingway's letters, edited by Carlos Baker, Hemingway's biographer. Blue stain on the introduction. Near fine in wrappers.

158. HEMPEL, Amy. Reasons to Live. NY: Knopf (1985). The uncorrected proof copy of her first book, a collection of stories. Fine in wrappers.

159. HERSEY, John. Blues. NY: Knopf, 1987. A novel in the form of an angling journal, and a reflection on fish and fishing, by the author of Hiroshima, among others. Fine in a fine dust jacket, and signed by the author.

160. HIAASEN, Carl. Stormy Weather. NY: Knopf, 1995. A Florida mystery by this bestselling author, whose combination of hard-boiled mystery, wacky, over-the-top comedy, and serious social commentary has earned him both critical acclaim and enormous popularity. Fine in a fine dust jacket and signed by the author on a tipped-in leaf.

161. HIAASEN, Carl. Lucky You. NY: Knopf, 1997. Another of his comic mysteries set in South Florida. Signed by the author on a tipped-in leaf. Fine in a fine dust jacket with the publisher's "Signed by the Author" sticker on the front panel.

162. HILLERMAN, Tony. Dance Hall of the Dead. NY: Harper (1973). The author's fourth book, and his second mystery featuring Navajo tribal detective Joe Leaphorn. Winner of the Edgar Award for Best Mystery Novel of the Year. Hillerman's tribal mysteries were unprecedented when he began writing them: the closest antecedent--novels that used the mystery format to explore issues of cultural identity--were probably the Australian Aboriginal novels of Arthur Upfield. In the past two decades, however, following in Hillerman's wake, there have been mystery series focusing on Cherokee detectives, a Kiowa medicine man, a Ute shaman, and a huge host of other characters exploring a multitude of cultures and settings far removed from the American mainstream. Hillerman is widely credited as the instigator of this reinvigoration of the detective form, and his novels are now both critically acclaimed and huge bestsellers upon publication, with first printings running into the hundreds of thousands. While the size of the first printing of this title is not known, there were probably something like 5000 copies printed, many of which would have gone directly to libraries. This is a fine copy in a near fine, price-clipped dust jacket.

163. HIMES, Chester. The Quality of Hurt. Garden City: Doubleday, 1972. The autobiography of this important African American expatriate writer, whose series of hard-boiled crime novels set in Harlem used the genre to explore and reveal the little-known aspects of the black culture of postwar Harlem in much the same way that Walter Mosley's novels have done for the black subculture of postwar Los Angeles. Faint spot to bottom edge; else fine in a very good dust jacket, and signed by the author. Because Himes lived most of his adult life in France, books signed by him are relatively uncommon.

164. HOAGLAND, Edward. Red Wolves and Black Bears. NY: Random House (1976). The uncorrected proof copy of the third book of essays by a writer John Updike called "the best essayist of his generation." Many of the pieces deal with the natural world. Two names on front cover, one crossed out (presumably reviewers to whom the book was to be assigned), otherwise fine in wrappers.

165. HOUSEWRIGHT, David. Penance. Woodstock: Countryman Press (1995). His first novel, a Holland Taylor mystery, winner of the Edgar Award. Signed by the author. Fine in a very near fine dust jacket with a slight crimp at the crown.

166. HUBBARD, L. Ron. Battlefield Earth: A Saga of the Year 3,000. NY: St. Martin's (1982). The uncorrected proof copy of this science fiction novel by the founder of the Dianetics movement. Blue smudge on the foredge; else fine in wrappers.

167. HUGO, Richard. What Thou Lovest Well, Remains American. NY: Norton (1975). A review copy of this collection of poems of the American West, by a Montana poet whose poetry was twice nominated for the National Book Award, and who was nominated for the Pulitzer Prize in two different genres--fiction and poetry. Hugo also became editor of the prestigious Yale Younger Poets series a few years after this book was published. This copy is inscribed by the author. Hugo's signature is quite uncommon. Spine-slant; else fine in a near fine dust jacket with a small tear at the upper rear spine fold.

168. IRVING, John. The Imaginary Girlfriend. (London): Bloomsbury (1996). The uncorrected proof copy of the first British edition of this title, which was incorporated into the U.S. edition of Trying to Save Piggy Sneed and had no separate U.S. printing. Fine in a near fine, proof dust jacket with the price of £13.99 (later lowered to £9.99). Laid in is a review slip from the Australian distributor Allen & Unwin, giving the publication date of "10/5/96" and the retail price of $24.95 (Australian dollars).

169. (IRVING, John). MARK, Mary Ellen. Indian Circus. San Francisco: Chronicle Books (1993). Irving provides the foreword for this book of photographs by Mark of circus performers in India. Quarto; fine in a fine dust jacket. Irving was working on his novel, A Son of the Circus, which was set in India, at the time this book was published.

170. JHABVALA, Ruth Prawer. The Householder. NY: Norton (1960). The first American edition of this novel by the author of Heat and Dust, which won the Booker Prize. The rear endpages bear the review notes of Benjamin DeMott of the New York Times. Near fine in a very good, spine-faded dust jacket with an edge tear at the upper front panel. An uncommon title.

171. JOHNSON, Charles. Middle Passage. (London): Picador/Pan (1991). The uncorrected proof copy of the first British edition of his National Book Award-winning novel. Fine in wrappers.

172. KEROUAC, John. The Town and the City. NY: Harcourt Brace (1950). The advance reading copy (in salmon-colored wrappers that are marked "advance review copy") of Kerouac's first novel, written in the style of Kerouac's idol, Thomas Wolfe, and published while Kerouac was still using his given name, John, as opposed to the more casual "Jack" under which his Beat novels were published. Kerouac later dismissed this novel as "dead" but at least one critic called it "an excellent novel in the Wolfeian autobiographic style," and Kerouac himself was enormously excited about its publication at the time. While not as self-consciously experimental or as jazz-inspired as his later books, especially On the Road, it clearly shows Kerouac's literary antecedents and the fact that he viewed himself as a writer long before he came to be a cultural icon. This copy is spine creased and foxed on the top edge, with small edge tears to the spine folds; clearly, a read copy, but still very good in wrappers. Laid in is a letter from Robert Giroux, Eugene Reynal and Edward Hodge of Harcourt Brace stating their collective corporate enthusiasm for their "big novel for Spring" by "one of the most exciting new talents to come to American readers since Thomas Wolfe." A scarce state of one of the most important fiction debuts of the postwar period.

173. KEROUAC, Jack. Doctor Sax. NY: Grove (1959). The uncorrected proof copy of one of Kerouac's scarcest trade hardcover publications. Plain white wrappers with handwritten title and publication information, and author's name on brown label. Stamped in red "Uncorrected Page Proof" on cover and first three leaves. Casual inspection reveals typographic differences between this proof and the published book on the half-title, title page, and second half-title as well as its being gathered into a different number of (smaller) signatures. An extremely uncommon item: we know of only one other proof copy of this title having appeared on the market over the years, and it did not appear in the Walter Reuben collection catalogued by Bradford Morrow. A bit of sunning to spine and spotting to covers and foredge; otherwise about near fine.

174. (KEROUAC, Jack). BOSWELL, James. The Life of Samuel Johnson. NY: Dutton (1916). A reprint edition, No. 1 in the Everyman's Library series. This copy belonged to and bears the pencilled ownership signature of John Kerouac/ 1949. With underlinings in the introduction and an additional note, "with remarks by Mr. Carlyle, intro." written on the half title. Hinges unprofessionally repaired (by Kerouac?) with electrical tape at the half title and rear endpages; cloth dampstained on the rear cover; spine-darkened; board edges worn; a fair copy, lacking the dust jacket. In a custom clamshell box.

175. KERSH, Gerald. The Dead Look On. London: Heinemann (1943). An early novel by this writer whose work spans a number of genres, and resists easy categorization. This book is based on the Lidice massacre, and written shortly after that atrocity, at the height of the Second World War. Near fine in a very good, price-clipped dust jacket with light chipping to the spine extremities and rubbing to the folds. A nice copy of a fragile book, cheaply produced under wartime restrictions. The iconoclastic American writer Harlan Ellison, whose work also defies genre boundaries, recently named Kersh as his favorite author.

176. -. Same title, the first American edition (NY: Reynal & Hitchcock, 1943). Near fine in a good dust jacket. Again, a fragile volume, produced under wartime conditions.

177. KERSH, Gerald. Brain and Ten Fingers. London: Heinemann (1943). Another war story, this one about Yugoslav guerrillas fighting in World War Two. Small bookseller stamp front pastedown; slight bowing to boards; near fine in a very good, spine-tanned dust jacket with very slight edgewear. A nice copy of a fragile wartime book.

178. KERSH, Gerald. Faces in a Dusty Picture. London: Heinemann (1944). Another novel of the war, written during wartime, this one set in North Africa. Spotting to foredge; else fine in a very good dust jacket.

179. KERSH, Gerald. The Horrible Dummy. London: Heinemann (1944). Stories, with various themes, some of them, like the stories of Shirley Jackson, bordering on the supernatural. Bookplate front pastedown and pencilled ownership signature; otherwise about near fine in a very good, price-clipped and spine-tanned dust jacket with a couple waterspots.

180. KERSH, Gerald. Neither Man Nor Dog. London: Heinemann (1946). A collection of stories, inscribed by the author to Donald Culross Peattie: "I would give everything I ever/ wrote if I could boast that/ I had written 'An Almanac for Moderns.'/ with admiration -/ Gerald Kersh." Fine in a very good, spine-tanned dust jacket with tiny corner chips. Books signed by Kersh are extremely uncommon.

181. KERSH, Gerald. The Ugly Face of Love. London: Heinemann (1960). A collection of stories, again veering somewhat into the realm of fantasy. Agent's bookplate front flyleaf; near fine in a near fine, spine-tanned dust jacket.

182. KESEY, Ken. Kesey's Garage Sale. (NY): (Viking) (1973). An advance review copy of the scarce hardcover issue of this collection of shorter pieces, spanning the years of the Sixties, when Kesey's activities moved far from the strictly literary path he had been on when he wrote his first two novels. This was the first book Kesey published after Sometimes a Great Notion. According to the author, the pieces were not conceived as a book but instead were drawn from various sources and put together, much as the title suggests, like the items in a garage sale--thrown out to the reader for inspection, perusal, consideration. Between the publication of the two books, Kesey had led the Merry Pranksters on their famous bus trip, become a counterculture hero and advocate, and been a fugitive from the law, spending time in Mexico as a result of a drug bust. Other contributors to this volume include Allen Ginsberg, Neal Cassady, Ken Babbs, Paul Krassner, and others. Introduction by playwright Arthur Miller. Heavily illustrated with sketches by Kesey, photographs, etc. With publisher's review slip and photo and promotional sheet laid in. Near fine in a fine dust jacket.

183. -. Another copy of the hardcover issue, not a review copy. Fine in a very near fine, price-clipped dust jacket.

184. KESEY, Ken. Twister! [Boulder]: (n.p.) (1994). The script, by Kesey, of a multimedia play performed by Kesey and the Pranksters during the Naropa Institute's weeklong tribute to Allen Ginsberg. Kesey departed early, reportedly upset with the critical reception the play had received, and he left behind four numbered copies of the script for the critics to read and examine. This is copy number four, signed by Kesey on the front cover with a doodle of a twister. Tapebound in cardstock covers; fine. Of the four copies, one is in the collection at the Naropa Institute and the other two are in private collections. Rare.

185. (KESEY, Ken). Still Kesey! NY: Viking, 1986. A promotional flyer for an evening with Kesey to publicize Demon Box, containing three previously unpublished and still-uncollected Kesey poems. A single sheet, folded to make four pages. Fine.

186. KILLENS, John Oliver. And Then We Heard the Thunder. NY: Knopf, 1963. The African-American author's second book, a novel of black Americans fighting in World War II. The author served 26 months with the Amphibian Forces in the South Pacific during the war. Inscribed by the author in 1972. Fine in near fine jacket with rubbing on the spine fold and a couple of spots on the spine.

187. KING, Laurie. To Play the Fool. NY: St. Martin's (1995). Her third book, the sequel to her Edgar Award-winning first novel, A Grave Talent. Fine in a fine dust jacket, and signed by the author.

188. KING, Stephen. The Shining. Garden City: Doubleday (1977). King's third novel, made into a memorable film by Stanley Kubrick. Large glue stains on front flyleaf, presumably from a bookplate that is no longer present; otherwise a near fine copy in a dust jacket with light rubbing and edgewear; about near fine. King's early novels were published by Doubleday, in editions of a few thousand copies (compared to a million or more, these days). At the time, Doubleday was notorious for the cheapness of the paper and bindings used in their trade editions, which often resembled the cheap book club editions issued by clubs that Doubleday itself owned. As a result, most copies that have survived are in poor condition.

189. KINNELL, Galway. Mortal Acts, Mortal Words. Boston: Houghton Mifflin, 1980. Poetry, this being the simultaneous issue in wrappers. Inscribed by the author to another well-known poet in 1982. Three of Kinnell's earlier collections were National Book Award finalists and his Selected Poems, published the year after this volume, won the National Book Award. Spine-sunned; else fine.

190. (KINSELLA, W.P.). "Caraway" in Prism International, Vol. 15, No. 1. (Vancouver): (Univ. of British Columbia) (1976). A short story featuring Silas Ermineskin, the protagonist of a number of Kinsella's Indian stories. Precedes his first book by two years. Signed by Kinsella at his contribution. Owner gift inscription; near fine in wrappers.

191. (KINSELLA, W.P.). "Illiana Comes Home" in Canadian Fiction Magazine, Number 20. (Vancouver): (Canadian Fiction Magazine) (1976). Another Silas Ermineskin story, preceding Kinsella's first book by two years. Signed by Kinsella at his contribution. Also includes "The Climb" by Diane Schoemplerlen, who won the 1998 Governor General's Award for fiction. Previous owner name; front cover splayed, with a slight crease near the spine; near fine in wrappers.

192. KITTREDGE, William. We Are Not in This Together. Port Townsend: Graywolf, 1984. One of 50 numbered copies of this collection of stories edited and with an introduction by Raymond Carver. This was a "homemade" limited edition, using copies from the hardcover trade edition, with the limitation and copy number simply handwritten on the title page, where the book was signed by Kittredge and Carver. An edition that provides a nice link between Carver, one of the finest short story writers of an era and Kittredge, a writer who is considered one of the most insightful chroniclers of the contemporary American West and who gained considerably more literary recognition and commercial success after this volume was published. Fine in a fine dust jacket.

193. KNOTT, Bill. Collected Political Poems 1965-1994. Self-published, 1994. One of only 20 numbered copies signed by the author. Additionally inscribed by Knott to a well-known poet in the year of publication. Fine in stapled wrappers.

194. KNOTT, Bill. Sixty Poems of Love and Homage. Self-published, 1994. One of 20 numbered copies signed by the author. Additionally inscribed by Knott to a well-known poet in the year of publication. Fine in stapled wrappers.

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