Catalog 111, D-E

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90. (DAHLBERG, Edward). Poetry, Vol. 81, No. 5. Chicago: Poetry, 1953. Warmly and lengthily inscribed by Dahlberg at his contribution, "Ushant, A Long Lotus Sleep," an excerpt from a work-in-progress. Near fine in wrappers.

91. DANIELEWSKI, Mark Z. House of Leaves. NY: Pantheon (2000). Bound photocopied typescript of the first published edition of his first book (which states "2nd edition" on the title page). Reproducing editorial corrections. 8 1/2" x 11"; near fine in tapebound cardstock covers. One of the most talked-about books of the last publishing season; the proof itself (see below) is somewhat uncommon, but we have never seen another copy of this earlier issue of the book.

92. -. Same title. The uncorrected proof copy. Fine in wrappers.

93. -. Same title. A review copy of the paperback issue (there was a simultaneous hardcover issue of 2000 copies). Slight rubbing to the corners; else fine.

94. DAVIES, Robertson. "The Revolt Against the Commonplace." (n.p.): (n.p.)(n.p.)[c. 1939-40]. Three page holograph manuscript, signed by Davies, on the topic of the incipient decline of naturalism in the English theater. Additionally authenticated by a photocopy of a 1995 fax from Davies, claiming the piece as his and supposing it to be one of several pieces he wrote while working as a "sort of literary chore-boy at the Old Vic." In these pages, Davies tracks the rise of naturalistic theater at the beginning of the century, its abuse by unskilled dramatists, the accompanying rise of naturalistic acting and its misapplication to poetic drama and, finally, the coming re-emergence of the romantic: "At the present time, when world affairs have made theatre-goers serious and critical, the demand is for the age-old solace of a troubled people, a truly poetic drama." Three sheets; 8" x 13"; dampstaining to the lower edge of the second sheet, affecting but not obscuring the two lowest lines of text; one edge fold; one center fold; overall near fine, the thin paper protected by a custom clamshell box. An extremely early manuscript by Davies -- the author of the celebrated Deptford Trilogy and one of the great Canadian men of letters of the 20th century -- contemporary with his first published book, Shakespeare's Boy Actors, and preceding his first novel by nearly a decade.

95. DELILLO, Don. End Zone. Boston: Houghton Mifflin, 1972. His second novel and, because of the black dust jacket, probably the toughest DeLillo book to find in nice shape. A fine copy in a very near fine dust jacket with trace rubbing at the corners and folds. An extremely attractive copy of this title.

96. DELILLO, Don. Ratner's Star. NY: Knopf, 1976. His fourth novel, which uses the framework of a boy genius decoding a signal sent from a star to examine issues of information: DeLillo's personal favorite of his first six books. Signed by the author. Fine in a very near fine dust jacket with a tiny nick at an upper corner of the spine crown.

97. DELILLO, Don. White Noise. (NY): Viking (1985). His National Book Award winner, and the first of his three nominations for that award. Fine in a near fine dust jacket.

98. -. Another copy. Remainder stamping lower page edges and small sticker abrasion front pastedown; near fine in jacket with a tiny chip at the spine base.

99. DELILLO, Don. Underworld. (NY): Scribner (1997). His masterwork, and his third National Book Award nomination. Winner of the William Dean Howells Award for the best work of fiction published in the U.S. in the previous five years. Signed by the author. Fine in a fine dust jacket.

100. DELILLO, Don. The Body Artist. NY: Scribner (2001). The advance reading copy of his next novel, a novella due out in February. Fine in wrappers.

101. (DELILLO, Don). The Jerusalem Prize for the Freedom of the Individual in Society. (Jerusalem): (Caspit Press/The Jerusalem International Book Fair) (1999). A pamphlet printed in tribute to DeLillo on the occasion of his accepting the Jerusalem Prize -- DeLillo being the first American so honored. Contains his acceptance address, "A History of the Writer Alone in a Room," a short, powerful meditation on writing and writers and their place in our culture and consciousness, imbued with DeLillo's characteristic honesty and dark humor. Fine in stapled wrappers.

102. DEXTER, Pete. Paris Trout. NY: Random House (1988). His third book, winner of the National Book Award. Dexter also wrote the screenplay for the well-received film, which starred Dennis Hopper in one of his finest roles and which was nominated for two awards in its release on cable TV and won an award from the Directors Guild of America. Fine in a fine dust jacket.

103. DILLARD, Annie. Tickets for a Prayer Wheel. (Columbia): U. of Missouri Press (1974). Her first book, a collection of poetry that begins: "Today I saw a wood duck/ in Tinker Creek." Pilgrim at Tinker Creek, Dillard's Pulitzer Prize-winning second book, is widely considered a modern classic of literary nature writing. Light foxing to top edge; near fine in like dust jacket with some surface soiling on the front panel. A nice copy of a scarce and fragile book, bound in thin, flexible cloth boards that are easily susceptible to wear.

104. DOUGLAS, Ellen. The Rock Cried Out. NY: HBJ (1979). The uncorrected proof copy. With a letter from the editor laid in to Pauline Kael, longtime film critic for The New Yorker, suggesting the novel has film possibilities. A bit of smudging and spine-fading; near fine in wrappers.

105. DOYLE, Roddy. A Star Called Henry. London: Jonathan Cape (1999). The first book in a projected historical cycle of Dublin, collectively titled "The Last Roundup." Doyle is the author of The Commitments and The Snapper, both made into well-received independent films, and he won the Booker Prize -- England's highest literary award -- for Paddy Clarke Ha Ha Ha. Signed by the author. Fine in a fine dust jacket.

106. DREISER, Theodore. Dawn. London: Constable & Co. (1931). The first British edition of the first volume of the autobiography of the author of such classics as Sister Carrie and An American Tragedy. Near fine in a very good, spine-faded and price-clipped dust jacket with light wear at the edges and folds. A very attractive copy.

107. DUBUS, Andre. The Last Worthless Evening. Boston: Godine (1986). A collection of four novellas and two stories. Fine in a near fine dust jacket with a few inconspicuous, internally tape-mended edge tears.

108. DUBUS, Andre. Leslie in California. (Otisville): Birch Brook (1989). The first separate appearance of this story, a small, attractive letterpress limited edition. One of 300 numbered copies, signed by the author. Approximately 6" x 4 1/2". Fine, in wrappers. An uncommon volume, which appears to have gotten little distribution and seldom shows up on the market.

109. DUBUS, Andre. Selected Stories. (London): Picador/Pan (1990). The uncorrected proof copy of the first British edition of this collection reprinting a number of stories from earlier books as well as two stories that had not yet appeared in book form. Signed by the author. Uncommon, even in the trade edition and considerably more so as a proof, needless to say. Coffee ring on front cover; otherwise near fine in wrappers.

110. DUNCAN, Robert and COLLINS, Jess. Boob Number One. [San Francisco]: [Self-Published] [1952]. Broadside collage by Jess Collins, edited by Duncan. One of 250 copies produced. Jess's first separate publication, preceding his first book by eight years. Slight edge-sunning; else fine. An early, uncommon collaboration by two of the key figures of the San Francisco Beat renaissance in the 1950s.

111. DUNCAN, Robert and COLLINS, Jess. Boob Number Two. [San Francisco]: [Self-Published] [1952]. Broadside collage again by Jess Collins, edited by Duncan and consisting of a Duncan poem, "Whose this liddl boob coming?," reproducing Duncan's holograph with a photo. 250 copies produced. Fine.

112. DUNCAN, Robert. Faust Foutu. (n.p.): (n.p.) [1952]. Carbon typescript, 12 pages, of Duncan's play, preceding all published editions and signed by the author in 1952. Faust Foutu was written in 1952 and first published in a mimeographed edition of "no more than 100 copies" in 1953. This typescript, a carbon, is dated in the author's hand on April 23, 1952. Casual comparison with the third edition -- which was published in 1959 by Duncan's own press in Stinson Beach, California -- shows a large number of revisions to the text, making this presumably the earliest version of Duncan's only play, "a comic masque." With a one-page mimeographed program for a reading of the play at the famous "6" Gallery in San Francisco, where Allen Ginsberg's Howl was first read. The program lists the cast members, including Duncan, Jess Collins, Jack Spicer, Mike McClure, Helen Adam and others. Previously folded; near fine. Rare, possibly unique.

113. (DUNCAN, Robert). The Artist's View, No. 5. San Francisco: Poets, Painters and Sculptors, 1953. Each issue of this magazine was designed and edited by an individual artist, this issue edited by Duncan, who is also the leading contributor. Other contributors include Philip Lamantia, Claire Mahl and Jess Collins, who contributes a collage and has signed his name beneath it. Previously folded; light small stain on front cover; about near fine. An uncommon, early Duncan production.

114. DURRELL, Lawrence. Clea. London: Faber and Faber (1959). The uncorrected proof copy of the concluding volume of the "Alexandria Quartet," the author's undisputed masterwork. Near fine in wrappers. Proofs of this vintage seldom turn up, especially in collectible condition.

115. EGGERS, Dave. A Heartbreaking Work of Staggering Genius. NY: Simon & Schuster (2000). The first edition of this unusual work, which was one of the most talked-about books of the year. Fine in a fine dust jacket.

116. -. Same title. 8 1/2" x 11" bound galley sheets. Tapebound with an acetate front cover. Fine. Although set up as page proofs, the pagination was changed between this production and that of the final book.

117. EHRLICH, Dr. Paul R. The Population Bomb. NY: Ballantine Books (1968). One of the early key books of the nascent environmental movement in the 1960s. Published by Ballantine, a "mass market" paperback publisher, this is a small hardcover edition, the size of a mass market (i.e., pocket-sized) paperback and printed on the same cheap, acidic paper, but bound in hardcover with a paper dust jacket. Owner name front flyleaf; acidic paper slightly darkened; otherwise a fine copy in a near fine, spine-faded dust jacket. With publicity sheet laid in.

118. ELLIOTT, Sumner Locke. Edens Lost. NY: Harper & Row (1969). The third book by the author of Careful, He Might Hear You. Inscribed by the author to film critic Pauline Kael: "love of my Virginia life." Fine in a near fine dust jacket with tears at each spine extremity.

119. ENGEL, Marian. Inside the Easter Egg. Toronto: Anansi (1975). The first collection of short fiction by this Canadian author, never published in the U.S. Previous owner's gift inscription on the front endpaper, otherwise fine in a near fine dust jacket with a small chip to the lower front corner. One of the less common titles by the author of Bear, the unusual novella that became something of a feminist classic.

120. ENGEL, Marian. One Way Street. London: Hamish Hamilton (1975). The first British edition, originally published two years earlier in Canada. Fine in a near fine dust jacket with an open edge tear at the upper rear flap fold.

121. ERDRICH, Louise. Love Medicine. NY: Holt, Rinehart & Winston (1984). Her first novel, winner of the National Book Critics Circle Award and the L.A. Times Award for Best Novel of the Year. Critical acclaim for this novel was instantaneous and unanimous, and it was reprinted several times quickly. Love Medicine was the first in a sequence of novels that is ongoing and has, to date, included four books. All have been well-received, and each has had a larger first printing than the last: Erdrich has come to be one of the most commercially successful literary authors writing in America today. As with the best Native American writing, Erdrich's writing is infused with a rich sense of myth derived from American Indian traditions, even as it uses the Western forms of poetry and the novel to contain and shape the images. Signed by the author. Fine in a very near fine dust jacket with trace wear at the crown and a crease on the front flap.

122. ESCANDÓN, María Amparo. Esperanza's Box of Saints. (NY): Simon & Schuster (1999). The advance reading copy of this title in the Scribner Paperback series. Fine in wrappers, with blurbs by Tony Hillerman, John Sayles, Rudolf Anaya and Carolyn See.

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