Catalog 108, M
173. MAMET, David. The Postman Always Rings Twice. (n.p.):(n.p.)(1979). Photocopied typescript of a screenplay based on the James Cain novel, first filmed in 1946. The cover page states "First Draft Revised/September, 1979." There was a second draft in December, 1979 and a revision of that draft in January, 1980. The film that was released in 1981 had, we are told, significant differences from the version here; it was also more faithful to Cain's novel than the earlier film. Velobound in plain cardstock covers; near fine.
174. MAMET, David. Lakeboat. NY: Grove Press (1981). The hardcover issue of this play, which was also simultaneously issued in softcover. Fine in a fine dust jacket and signed by the author, and with his rubber stamp on the front endpaper as well. Books signed by Mamet are remarkably uncommon.
175. MAMET, David. The Verdict. NY: Fox-Zanuck/Brown, 1981. Photocopied screenplay. Final draft, dated "November 23, 1981," with several revised, color-coded pages dated "12/20/81." Mamet's screenplay is based on the novel by Barry Reed, and was filmed by Sidney Lumet, and was his breakthrough work as a Hollywood screenwriter. Paul Newman gave his most powerful performance in years as a down-and-out lawyer who finds a chance for redemption. Several actors' names in pencil on the title page; a fine copy in claspbound printed studio covers. Screenplays such as this, in the studio's own wrappers, are produced in limited quantities, usually only for those involved in the actual production.
176. MAMET, David and CROUSE, Lindsay. The Owl. NY: Kipling Press (1987). A children's book co-authored by Mamet and his wife, an actress, with illustrations by Stephen Alcorn. Fine in a fine dust jacket.
177. (MAMET, David). KAZURINSKY, Tim and DeCLUE, Denise. Sexual Perversity in Chicago. Chicago: Apollo Group, 1981 and (n.p.): TriStar Pictures, 1985. Two drafts of a screenplay based on Mamet's play. The first draft, March 25, 1981, and the "Shooting Script, Revised," September 23, 1985, with revisions from 10/2 and 10/4. Both copies are near fine, claspbound in International Creative Management covers. For both:
178. MATTHIESSEN, Peter. Raditzer. London: Heinemann (1962). The uncorrected proof copy of the first British edition of his third novel. Signed by the author. Matthiessen is one of the very few authors who has been nominated for the National Book Award for both fiction and nonfiction. Of his early novels, Matthiessen has said that is not happy with them, and would just as soon they not be reprinted or read, although he hasn't gone so far as to prevent his publisher from bringing them back into print. His next novel after this one, At Play in the Fields of the Lord, a National Book Award nominee, represented a significant jump from this book in terms of literary accomplishment. The book prior to this, Wildlife in America, started him on the path toward becoming one of our most highly regarded writers of natural history. This short novel, a tale of the sea that is reminiscent of Conrad, dates from an early period in Matthiessen's career and is scarce even in the U.S. trade edition. This is the first copy of the British proof we have handled. Near fine in wrappers.
179. MATTHIESSEN, Peter. The Snow Leopard. NY: Viking (1978). The uncorrected proof copy of his National Book Award-winning volume, recounting a trip to the Himalayas with naturalist George Schaller in the hopes both of encountering a snow leopard in the wild and of coming to terms with his wife's death from cancer. Named Salon Magazine's top travel book of the century. An important state, bibliographically, as the first third of this book changed markedly between the proof and the published text as a result of Matthiessen's checking his writings with an expert in Buddhist philosophy; and there were smaller changes throughout. This copy is inscribed by the author. Name on front cover; near fine in wrappers.
180. MATTHIESSEN, Peter. In the Spirit of Crazy Horse. NY: Viking (1983). The uncorrected proof copy of Matthiessen's controversial and suppressed book on the conflict between agents of the federal government and members of the radical American Indian Movement in the 1970s, which culminated in a gun battle that left two FBI agents and one Indian dead. Matthiessen argues that the conviction of Leonard Peltier for the agents' death was a miscarriage of justice. His book was the subject of two lawsuits -- by one of the FBI agents involved in the case and by the former governor of South Dakota -- which effectively suppressed it for nearly a decade. A Supreme Court ruling declining to hear the case after an appeals court had thrown out the suits on the basis of First Amendment considerations finally allowed the book to be reprinted after nine years of litigation and untold millions of dollars in legal expenses -- a harrowing experience for the author, his publishers and (one assumes) their insurers; and a sobering example of how a legal case can effectively suppress a publication even if the case is finally deemed to be without merit: Matthiessen's book was effectively removed from its target audience for the crucial window of time during which it was most relevant (and agitation on Peltier's behalf might have had the best chance for success). A landmark of recent literary history and First Amendment tests. Author's name written on lower page edges; otherwise fine in mildly spine-tanned wrappers. Signed by the author.
181. MATTHIESSEN, Peter. Tigers in the Snow. NY: North Point Press (1999). The uncorrected proof copy, apparently a second issue as there is a notice laid in announcing that revisions have been made and giving a new publication date of February 2000. Fine in wrappers. We have never seen a first issue of this proof.
182. MATTHIESSEN, Peter. The Peter Matthiessen Reader. NY: Vintage Books (2000). The uncorrected proof copy of a book issued as a trade paperback original. Collects more than thirty years of Matthiessen's nonfiction. Edited and with an introduction by McKay Jenkins. Fine in wrappers.
183. MAXWELL, William. They Came Like Swallows. NY: Harper & Brothers, 1937. The true first edition of the author's scarce second novel, with "First Edition" explicitly indicated on the copyright page. Most copies of this title that turn up have no statement and are in fact book club copies. The rear panel of the dust jacket also differs from the more common book club edition, which is often mistaken for a first. A not-quite-very-good, sunned and edgeworn copy in a good, edgeworn and dampstained dust jacket, internally tape-repaired along splitting folds. Despite its condition problems, this is an extremely uncommon first edition by a writer who has been called the "greatest living author" in America by a noted book trade publication.
184. -. Same title. NY: Vintage Books, 1960. The revised paperback edition. Fine.
185. MAXWELL, William. The Folded Leaf. New York: Editions for the Armed Services, 1945. The first Armed Services edition of his third novel. Light rubbing and creasing; near fine in wrappers.
186. -. Same title, the first British edition. London: Faber & Faber (1946). A bit of foxing to endpages; else fine in a very near fine dust jacket with a few tiny edge tears. A very nice copy of a book that, although published after the war, was printed and bound in a manner similar to that used during wartime, using extremely thin paper for the pages and the dust jacket, and thin boards for the binding. Because of its fragile construction, a scarce edition, especially in fine condition.
187. -. Same title, the first Vintage edition, for which Maxwell made some slight revisions. NY: Vintage Books (1959)[c.1965]. Inscribed by the Maxwell to fellow author Howard Moss: "For Howard with love from/ B.M." Moss was the poetry editor of The New Yorker magazine for 40 years, where he helped establish the careers of such poets as Sylvia Plath, Richard Wilbur and Elizabeth Bishop. His Selected Poems won the National Book Award in 1971. Maxwell inscriptions are fairly scarce; excellent literary associations such as this one are truly rare. Shallow spine creasing, else fine in wrappers.
188. -. Same title, second revised edition. Boston: Godine (1981). Fine in wrappers.
189. MAXWELL, William. Time Will Darken It. NY: Harper & Brothers, 1948. His uncommon fourth novel. A near fine copy in a very good dust jacket with some fading to the spine and modest edge wear, including a bit of chipping at the spine crown. Still, an attractive copy of an elusive book.
190. -. Same title, the first British edition. London: Faber and Faber (1949). Near fine in a near fine dust jacket with two edge tears and tiny corner chips. A very nice copy of a scarce edition.
191. -. Same title, the first Vintage Books edition. NY: Vintage (1962). Small bump to spine base; near fine in wrappers. Maxwell made some textual revisions for this edition.
192. -. Same title. Boston: Godine/Nonpareil Books (1983). The second revised edition. Signed by the author. Fine in wrappers.
193. MAXWELL, William. The Writer as Illusionist. (NY): (Unitelum Press) (1955). A small, little-known pamphlet printing a speech delivered by the author at Smith College in March, 1955. Reportedly self-published and done in a very small edition. Fine in stapled wrappers. Uncommon.
194. MAXWELL, William. The Château. NY: Knopf, 1961. A novel set in France in the aftermath of World War II. Inscribed by Maxwell to fellow author Howard Moss in the month before publication: "February 1961/ Howard from/ Bill - Now if you will/ just make this into/ one of those movies/ of yours -." Dusty top stain; else fine in a very good, spine-darkened dust jacket with shallow chipping at the crown. An excellent association copy of one of Maxwell's major novels.
195. MAXWELL, William. The Old Man at the Railroad Crossing and Other Tales. NY: Knopf, 1966. A collection of stories, now somewhat uncommon. Inscribed by the author to Howard Moss, two months prior to publication: "January, 1966/ Howard with love/ B." Faint spine- and edge-sunning to boards, else fine in a near fine, spine-tanned dust jacket. Again, an excellent association copy, and doubtless one of the first copies available from the press.
196. -. Another copy. One of an unspecified number of copies signed by the author on a tipped-in leaf. Small, faint dampstain to the lower front board; very near fine in a near fine, price-clipped dust jacket with several edge tears.
197. MAXWELL, William. Ancestors. NY: Knopf, 1971. A review copy of his first book of nonfiction. Fine in a fine dust jacket.
198. -. Another copy, also a review copy. The front endpaper has a tape mark where the review slip was attached, and there is a tiny water spot on the top stain; otherwise this is a fine copy in a very near fine dust jacket with one closed edge tear on the front panel.
199. -. Same title, the uncorrected proof copy. Publication info and initials written on the top corner; one staple and evidence of sticker removal on the front cover; one corner crease on the rear; near fine in tall, padbound wrappers. Very scarce, because of the fragile format.
200. MAXWELL, William. Over by the River and Other Stories. NY: Knopf, 1977. Fading to top stain; else fine in a fine dust jacket and signed by the author.
201. -. Same title, the uncorrected proof copy. Fine in tall wrappers.
202. MAXWELL, William. So Long, See You Tomorrow. NY: Knopf, 1980. A short novel, his first in eighteen years. Inscribed by the author to Howard Moss in the month prior to publication: "December 1979/ Howard from Bill/ with love." Small erasure front flyleaf; else fine in a fine dust jacket mildly tanned on the spine. Again, an excellent association copy: Maxwell and Moss had been working at The New Yorker together for a quarter century by the time of this inscription, and in that context the brief, warm inscription speaks volumes.
203. -. Same title. NY: Vintage (1996). A promotional issue of the Vintage paperback reissue of this short novel, first published by Knopf in 1980 and winner of the National Book Award when it was reissued in paperback the following year. Fine in wrappers and publisher's cardstock slipcase, which also served as a mailing envelope and bears the address labels. Signed by the author. Blurbs by John Updike (excerpted from the blurb on the first trade edition) and Michael Ondaatje.
204. MAXWELL, William. Billie Dyer and Other Stories. NY: Knopf, 1992. A collection of seven related stories, six of which first appeared in The New Yorker. Fine in a fine dust jacket.
205. MAXWELL, William. All the Days and Nights. NY: Knopf, 1995. A collection of short fiction that spans his entire writing career -- over 50 years. Fine in a fine dust jacket.
206. -. Same title, the advance reading copy. Issued for promotional purposes with a leaf bound in signed by the author. Fine in decorated wrappers and publisher's cardstock slipcase.
207. MAXWELL, William and O'CONNOR, Frank. The Happiness of Getting It Down Right. NY: Knopf, 1996. The uncorrected proof copy of this collection of letters between the two spanning more than two decades, edited by Michael Steadman. Maxwell was O'Connor's editor at The New Yorker, where many of O'Connor's stories first appeared. Fine in wrappers and signed by Maxwell.
208. (MAXWELL, William). "The Sleeping Beauty" in Illini Poetry, 1924-1929. Champaign: University of Illinois Supply Store, 1929. Maxwell's first book appearance, printing a 14-page poem, which was the Prize Poem for 1929. Trace wear to the cloth at the spine extremities, otherwise a fine copy, without dust jacket, possibly as issued. A nice copy of a scarce item.
209. (MAXWELL, William). WARNER, Sylvia Townsend. Letters. NY: Viking Press (1982). Edited and introduced by Maxwell. Fine in a fine dust jacket.
210. McCARTHY, Cormac. All the Pretty Horses. NY: Knopf, 1992. The first volume of the Border Trilogy, a landmark novel that won both the National Book Award and the National Book Critics Circle Award and propelled its author to "instant" literary celebrity -- after nearly three decades of writing well-received literary novels in relative obscurity. All the Pretty Horses sold ten times as many copies in hardcover as all five of his previous novels combined. Fine in a fine dust jacket. This is the reputed second issue dust jacket, with five blurbs on the rear panel and the first letter of the flap copy printed in color; it's not clear whether any copies of the first issue jacket were distributed upon publication, or if they were limited to review copies.
211. McEWAN, Ian. Or Shall We Die? London: Jonathan Cape (1983). An oratorio by McEwan, set to music by Michael Berkeley, and performed by the London Symphony Orchestra. This volume has an introduction by McEwan that runs longer than the piece. Fine in a very near fine dust jacket with one small edge nick. An early book by this author whose recent novel, Amsterdam, won the Booker Prize.
212. McGUANE, Thomas. The Longest Silence. NY: Knopf, 1999. The uncorrected proof copy of his new book, a collection of 33 essays on fishing and the outdoors. Fine in wrappers.
213. McMURTRY, Larry. The Last Picture Show. NY: Dial, 1966. His third novel, basis for the Academy Award-winning movie, which launched the careers of director Peter Bogdanovich and actress Cybill Shepherd. Fine in a very near fine dust jacket with molecular edge wear at the spine extremities and very little of the dust soiling that usually appears on the coarse, unlaminated dust jacket. A beautiful copy of a book that seldom turns up in this condition.
214. McMURTRY, Larry. Walter Benjamin at the Dairy Queen. (NY): Simon & Schuster (1999). The uncorrected proof copy of this collection of essays on place, literature, books and book-scouting. McMurtry, in addition to being an award-winning novelist and prolific screenwriter, has been a book scout and bookseller for over 40 years. Fine in wrappers.
215. McPHEE, John. The Crofter and the Laird. NY: FSG (1970). McPhee's seventh book, in which he returns to the land of the Scottish clan from which he is descended. Inscribed by the author. Books inscribed by McPhee are relatively uncommon; he seldom does the kind of "author tour" that has become the norm these days when publishing a new book. Fine in a fine dust jacket.
216. MERTON, Thomas. The Tower of Babel. (Hamburg): (Laughlin) (1957). A morality play in two acts by Merton, with woodcut illustrations by Gerhard Marcks. Tall folio, handsomely printed on handmade paper for James Laughlin in an edition of 250 numbered copies signed by Merton and Marcks. This was apparently the author's copy, as indicated in pencil on the cardboard slipcase. It bears library markings on the lower corner of the front cover and a small rubber stamp on the front pastedown indicating it came from the Monastic Library of the Abbey of Gethsemani, Merton's abbey. Other than the library marks, which illuminate the book's provenance, and a small bump at the lower front corner, this is a fine copy in a near fine slipcase. A scarce book under any circumstances, this is an especially attractive copy of it.
217. MILLER, Henry. Max and the White Phagocytes. Paris: Obelisk Press [1938]. The second volume in the Villa Seurat series, published in an edition of 1,000 copies by Obelisk, which had published Tropic of Cancer in 1934 and Black Spring in 1936 and would publish Tropic of Capricorn in 1939. A fine copy, in self-wraps, and the nicest copy we have seen of this title in years. A large, fragile book, seldom found in this condition. In custom folding chemise and slipcase.
218. MILLER, Henry. Echolalia. (Berkeley): Bern Porter (1945). Eleven black & white reproductions of Miller's watercolors, with a twelfth leaf that serves as Miller's introduction. Each 8 1/2" x 11". Fine, laid into a near fine portfolio with some offsetting and fragile original envelope. Shifreen & Jackson A45a.
219. MILLER, Henry. Autograph Note Signed. Undated. A 5" x 3" card: "June -/ Tell me what/ you have read/ and I'll know/ better what to/ send!"/ Henry." A short but nice sentiment, not only linking Miller with June, his muse, but also with the literary dimension of their lives together. Near fine.
220. MOODY, Rick. Surplus Value Books: Catalog Number 13. Santa Monica: Danger Books (1999). Virtually a novella in the form of a book dealer's catalog. Moody has created a hilarious and touching self-contained world where the values accorded to the items for sale (dollars) and the values inherent in them (significance, artistry, passion) are in running comic contrast. Moody has his tongue in his cheek but also his heart on his sleeve; many of the entries embody a sensitivity and tenderness surprising in such a send-up. An effective, even haunting riff on rare book catalogs. (Don't bother trying to order item #22; it's gone.) Of a total edition of 1213 copies, this is one of 300 numbered copies signed by Moody and David Ford, the artist and designer. Fine in wrappers.
221. -. Same title, the uncorrected proof copy. Apparently identical to the above (though unsigned) but with "Uncorrected Proof" printed on the front cover. Given the sophistication of the above production and producers, probably a cleverly marketed print overrun rather than a true proof. As such, even more expensive:
222. (MOODY, Rick). "Destroy All Monsters" in Summer Movie Catalog. Hadley: Lopez, 1999. An earlier, actual catalog appearance by Moody, now worth (much) more. Fine in wrappers.
223. MORRIS, Wright. The Works of Love. NY: Knopf, 1952. Signed by the author. Fine in a very near fine, price-clipped dust jacket. A nice copy of one of his early novels. Over the years, five of Morris' novels were National Book Award nominees, with two of them winning the award.
224. MORRIS, Wright. The Huge Season. NY: Viking (1954). His ninth book and a finalist for the National Book Award. Small ink "R" on flyleaf; near fine in a very good, faded and price-clipped dust jacket.
225. MORRIS, Wright. The Field of Vision. NY: Harcourt Brace (1956). After two nominations for the National Book Award for fiction, in 1954 and 1955, Wright won the award for this novel in 1957. Signed by the author. Fine in a near fine dust jacket. A very attractive copy of his first award winner.
226. MORRIS, Wright. Love Among the Cannibals. NY: Harcourt Brace (1957). His eleventh book, and a finalist for the National Book Award -- an unprecedented accomplishment for an American novelist: three consecutive books, in the span of three years, that were finalists for the NBA, with one winning the award. Signed by the author. Small erasure to front flyleaf; else fine in a price-clipped dust jacket, near fine but for a faint cup ring on the front panel.
227. MORRIS, Wright. Ceremony in Lone Tree. NY: Atheneum, 1960. Another National Book Award finalist. Signed by the author. Tape residue front flyleaf; else fine in a near fine dust jacket with some fading to the spine lettering.
228. MORRIS, Wright. What a Way to Go. NY: Atheneum, 1962. A novel. Signed by the author. Owner name front flyleaf; a near fine copy in a very good dust jacket.
229. MORRIS, Wright. Cause for Wonder. NY: Atheneum, 1963. The third state, with all the transposed pages of the first two states corrected. Signed by the author. Fine in a near fine, spine-tanned dust jacket.
230. MORRIS, Wright. One Day. NY: Atheneum, 1965. Signed by the author. Wright's address label taped to the front flyleaf; fine in a near fine, black dust jacket with some light rubbing and scratching.
231. MORRIS, Wright. In Orbit. (NY): New American Library (1967). A novel of a young drifter and draft-dodger, whose life causes those he comes in contact with to re-examine their own lives and the twists of fate that shape their courses. Signed by the author. Fine in a very good dust jacket rubbed along the front spine fold.
232. MORRIS, Wright. Fire Sermon. NY: Harper & Row (1971). Signed by the author. Fine in a lamination-added dust jacket, beneath which it is slightly spine-faded but still near fine. Contemporary critics called this the best novel of Morris's career, with one arguing that he was the best living American novelist.
233. MORRIS, Wright. A Life. NY: Harper & Row (1973). A novel. Signed by the author. Small abrasion to the front cloth; else fine in a near fine, price-clipped dust jacket.
234. MORRIS, Wright. Real Losses, Imaginary Gains. NY: Harper & Row (1976). His first collection of short stories, which span the years 1948-1975. Signed by the author. Owner name front pastedown; near fine in a very good, price-clipped dust jacket.
235. MORRIS, Wright. The Fork River Space Project. NY: Harper & Row (1977). Signed by the author. Near fine in a very good dust jacket with "75/01" written on the front panel and an internally tape-strengthened crown.
236. MORRIS, Wright. Plains Song. NY: Harper & Row (1980). Morris' second book to win the National Book Award. Signed by the author. Front hinge starting, but still near fine in a fine, price-clipped dust jacket.
237. MORRIS, Wright. Will's Boy. NY: Harper & Row (1981). A memoir. Signed by the author. Fine in a fine dust jacket. A perfect copy.
238. MORRIS, Wright. Solo. NY: Harper & Row (1982). His second book of memoirs, covering his travels in Europe 1933-1934. Signed by the author. Fine in a fine dust jacket.
239. MORRIS, Wright. A Cloak of Light. NY: Harper & Row (1985). A memoir and reflection on writing. Signed by the author. Fine in a fine dust jacket.
240. MORRIS, Wright. "Come to the window..." Berkeley: Black Oak Books, 1095. A broadside featuring an excerpt from each of his three autobiographical volumes, Will's Boy, Solo and A Cloak of Light. 7 1/2" x 11". Apparently matted previously, leaving the margins unsunned; tape on the verso corners; near fine, and signed by the author.
241. MORRISON, Toni. Beloved. NY: Knopf, 1987. The uncorrected proof copy of the Nobel Prize-winning author's fifth novel, which won the Pulitzer Prize. Fine in wrappers.
242. MUNRO, Alice. The Beggar Maid. NY: Knopf, 1979. A review copy of the first American edition of the second of her books to win Canada's Governor General's Award (in 1978, under the title Who Do You Think You Are?). A collection of stories. Signed by the author. Fine in a fine dust jacket.
243. MUNRO, Alice. The Moons of Jupiter. NY: Knopf, 1982. The first American edition of this collection of stories. Chosen as one of the best books of the year by the editors of The New York Times Book Review. Signed by the author. Fine in a fine dust jacket.
244. MUNRO, Alice. Friend of My Youth. NY: Knopf, 1990. A well-received collection of stories. Signed by the author. Fine in a fine dust jacket.