Catalog 127, G
139. GARCÍA MÁRQUEZ, Gabriel. Los Funerales de la Mamá Grande. Xalapa: Universidad Veracruzana, 1962. The first edition of his first collection of short fiction, the title work of which first introduced the element of magical realism that serves to identify much of his later work. Ownership signature of a Venezuelan journalist and date (1966) and small Caracas bookstore label on front fly; tape shadows on endpages; else near fine in wrappers. A very attractive, crisp copy of this uncommon collection, with little of the rubbing that typically shows up. The entire first edition was 2000 copies, and according to García Márquez, fewer than 700 copies of it were sold in all and he never received any royalties from the sale of this book. A scarce and important volume by the Nobel Prize winner.
140. GARCÍA MÁRQUEZ, Gabriel. Cien Años de Soledad. Buenos Aires: Sudamericana, 1967. The first edition of the Nobel Prize winner's masterwork, which introduced magical realism to a wide audience and helped bring the boom in Latin American literature to this country when it was published in the U.S. in 1970. At the end of the 1970s this book was voted by the editors of The New York Times Book Review to be not only the best book published in the last ten years but the one most likely to still be read and important one hundred years hence. This copy is inscribed by the author in the year of publication on the half title: "Para Nicolas Trincado, este/ espantoso folletin, con la/ amistad imprevista del autor," ("For Nicolas Trincado, this dreadful pulp-fiction, with the sudden friendship of the author") and signed "Gabriel." Recipient's signature on the title page; small Caracas bookstore label on front fly; foxing to covers; spine slanted and slightly creased; still, at least very good in wrappers, and nicer than most copies of this title that turn up. The story behind the signing of this copy is interesting: at the Caracas ceremony for the awarding of the first Rómulo Gallegos Prize in 1967, given to Mario Vargas Llosa for La Casa Verde ("The Green House"), writers, journalists, and intellectuals crowded the Hilton Hotel. The Venezuelan writer Miguel Otero Silva gave a speech congratulating Vargas Llosa and also mentioned another writer present here, "our friend Gabo," whose novel Cien Años de Soledad had just been published, commenting that somebody here actually had a copy of it already. García Márquez was known in Caracas because he had lived there in 1957-58, when he was temporarily unable to return to Colombia for political reasons. The author sought out the owner of the book, and according to the owner's account, García Márquez had not seen a copy yet, as he lived in Mexico, was traveling in Caracas, and the book was published in Argentina. When he saw this copy, he was stunned because the design of the cover was nothing like what it was supposed to have been -- a design done by a friend in Mexico City. Instead, Sudamericana appeared to have rushed the book into print before the final design was ready, with a cover that was unauthorized, unexpected and, as it turned out, disliked by the author. García Márquez later called the first edition, when he saw another copy of it, "this pirate edition," since the design had been done without his approval. (Later printings of the book, from the second printing onward, all had a different cover, the one the author had anticipated.) This copy, however, was apparently the first time he ever saw it and his inscription -- calling the book "dreadful pulp fiction," which presumably refers to the edition not the content -- suggests his annoyance. A true high spot of Twentieth Century world literature, exceedingly uncommon signed, and this copy is, according to the report, the first copy the author ever saw of the true first edition and certainly the first copy he ever signed.
141. GARCÍA MÁRQUEZ, Gabriel. Leaf Storm and Other Stories. NY: Harper & Row (1972). His third book published here, and his second collection of stories. Includes the much-anthologized "A Very Old Man With Enormous Wings." One slight corner bump; still very in a very near fine dust jacket with a closed edge tear at the upper rear spine fold.
142. (GINSBERG, Allen). Columbia Review. NY: Columbia College, 1946-1955. Five issues of the Columbia Review: Vol. 26, No. 5 (1946); Vol. 27, Nos. 3 and 4 (1947); Vol. 31, No. 1 (1950); and Vol. 35, No. 2 (1954-55), the Bicentennial Issue. Includes Ginsberg's pieces: "Boba's Birthday," "This is the Abomination," "A Paradox of Verbal Death," "Song," "The Proposal," "Love Letter: Easter Sunday 1947," "Crash" and, reprinted in the Bicentennial Issue, "Lost Stanzas in Denver." The 1946 volume has creasing to the cover and is very good; the others are near fine or better; all are in stapled wrappers. Early appearances in print for Ginsberg -- the earliest issue includes the entries identified as C17 and C18 in the Morgan bibliography. Other contributors to the magazines include Louis Simpson, Mark Van Doren, John Hollander, Herbert Gold, Norman Podhoretz and others. For the five:
143. (GINSBERG, Allen). Clean Energy Verse. (Woodstock): (Safe Earth Press) (1979). An anthology of poems, many inspired by or read during the 1978 demonstrations at the Rocky Flats Nuclear Weapons Plant outside of Denver, Colorado. This copy is inscribed by Ginsberg to Allan Kaprow in the year of publication. Kaprow is best known as the creator of the interactive art form known as "happenings," and was a friend of Ginsberg's: the two collaborated on Nam June Paik's video "Allan 'n' Allen's Complaint" in 1982. Clean Energy Verse includes Ginsberg's poems "Plutonium Ode," "Nagasaki Day Peace Protests Arrests," "Golden Court House," and "Visiting the Manager's Office." Fine in stapled wrappers. Laid in is an invitation to a Kaprow performance at Hansa Gallery.
144. GLÜCK, Louise. The Triumph of Achilles. NY: Ecco Press (1985). The fourth collection of poetry by this Pulitzer Prize-winning poet. This volume won the National Book Critics Circle Award, the Boston Globe Literary Press Award, and the Melville Kane Award of the Poetry Society of America. Inscribed by the author and additionally signed by her on the title page. Fine in a fine dust jacket with a label announcing her winning the 1985 Melville Kane Award on the front panel.
145. GLÜCK, Louise. Proofs & Theories. NY: Ecco Press (1994). A collection of essays on poetry by the winner of the 1993 Pulitzer Prize for Poetry. This volume, her first prose work, won the PEN/Martha Albrand Award for Nonfiction. Signed by the author on the title page and additionally inscribed by her. Slight bowing to front board; else fine in a fine dust jacket.
146. GRAHAM, Jorie. The End of Beauty. NY: Ecco Press (1987). The hardcover issue of the third collection of poems by this Pulitzer Prize-winning poet. Inscribed by the author in the year of publication, in Iowa City. Fine in a fine dust jacket. Uncommon in the hardcover issue, especially signed.
147. GRAHAM, Jorie. Materialism. (Hopewell): Ecco Press (1993). Her fifth collection of poems. Warmly inscribed by the author "with love" on the dedication page. Also affixed there is an autograph post-it signed by Graham, expressing warm and heartfelt gratitude for a note that the book's recipient had sent her ("I have carried it around and reread it as a source of joy..."). Fine in a fine dust jacket.
148. GRAHAM, Jorie. The Dream of the Unified Field. (Hopewell): Ecco Press (1995). Selected poems, 1974-1994. Winner of the Pulitzer Prize. Warmly inscribed by the author ("...with more love, & missing you..." on the title page. Fine in a fine dust jacket. A beautiful copy of this prize-winning collection.
149. GRAHAM, Jorie and MONTGOMERY BARRON, Jeannette. Photographs and Poems. NY: Scalo (1998). Poetry by Graham accompanying photographs by Montgomery Barron, a nice collaboration. Warmly inscribed by Graham with "great love, admiration, gratitude." Quarto; fine in a fine dust jacket.
150. GRASS, Günter. The Tin Drum. (NY): Pantheon Books (1962). The first American edition of the Nobel Prize-winning author's landmark first novel, considered by many the most important German novel since the works of Thomas Mann in the 1930s. The 1980 movie adaptation won an Oscar for Best Foreign Film as well as the Golden Palm at the Cannes Film Festival. Inscribed by the author in German. Recipient's name on front flyleaf; fine in a near fine, price-clipped dust jacket mildly rubbed on the spine and with internal tape-strengthening at the extremities. A remarkably nice copy of this important book, which seldom turns up in fine condition, let alone signed.
151. GRASS, Günter. Cat and Mouse. NY: Harcourt Brace World (1963). The first American edition of his second novel published here. Inscribed by the author. Fine in a near fine, very slightly spine-faded dust jacket with a touch of wear at the crown. A very nice copy, and uncommon signed.
152. GRASS, Günter. Dog Years. NY: Harcourt Brace World (1965). The first American edition of his third book, the conclusion of the Danzig trilogy that started with The Tin Drum. Inscribed by the author. Mild mottling to cloth; near fine in a near fine, price-clipped dust jacket with faint, blended dampstaining on the spine. Overall a very attractive copy, and scarce signed.
153. GRASS, Günter. Selected Poems. NY: Harcourt Brace World (1966). The first American edition of his first collection of poetry, written over a span of 40 years. Inscribed by the author in 1989. Fine in a near fine, price-clipped dust jacket internally tape-strengthened at the crown.
154. GRASS, Günter. New Poems. NY: Harcourt Brace World (1968). The first American edition. Inscribed by the author. Fine in a very slightly spine-tanned, price-clipped dust jacket. Books signed by Grass are quite uncommon.
155. GRASS, Günter. Speak Out! NY: Harcourt Brace World (1969). The first American edition of this collection of speeches, open letters, and commentaries -- his first nonfiction volume. Inscribed by the author. Fine in a fine dust jacket.
156. GRASS, Günter. Local Anaesthetic. NY: Harcourt Brace World (1970). The first American edition of this novel. Inscribed by the author on the title page. Fine in a fine dust jacket.
157. GRASS, Günter. From the Diary of a Snail. NY: HBJ (1973). The first American edition of this book detailing Grass's work on the campaign of West German politician Willy Brandt. Inscribed by the author. Fine in a near fine, modestly rubbed and spine-faded dust jacket with tape-strengthening on verso.
158. GRASS, Günter. The Flounder. NY: HBJ (1978). A later printing of the American edition. Inscribed by the author. Fine in a very near fine dust jacket internally tape-strengthened at the spine heel.
159. GRASS, Günter. The Meeting at Telgte. NY: HBJ (1981). Second printing of the American edition. Inscribed by the author. Fine in a fine dust jacket.
160. GRASS, Günter. Headbirths or The Germans Are Dying Out. NY: HBJ (1982). Second printing of the American edition. Inscribed by the author. Fine in a fine dust jacket.
161. GRASS, Günter. Kinderlied. Northridge: Lord John Press, 1982. Poems and etchings by Grass, with the poems printed in both the original German and in Michael Hamburger's English translations. One of 300 numbered copies signed by the author. Oblong quarto; fine in a fine slipcase.
162. GRASS, Günter. On Writing and Politics, 1967-1983. NY: HBJ (1985). The first American edition of this collection of essays on literature and politics. Inscribed by the author. Fine in a fine dust jacket.
163. GRASS, Günter. The Rat. NY: HBJ (1987). The first American edition of this fable of the end of human history and the ascent of rat-men, which Grass alluded to in his Nobel lecture. Inscribed by the author. Fine in a fine dust jacket.
164. GRASS, Günter. The Call of the Toad. NY: HBJ (1992). The first American edition. Inscribed by the author. Fine in a fine dust jacket, with a postcard from the publisher, Helen Wolff, laid in.
165. GREENE, Graham. The Man Within. London: Heinemann (1929). His first novel, which was a critical and commercial success: according to the author, the first printing was 2500 copies, and later reports indicate that it was reprinted prior to publication and that it eventually sold 8000 copies in England and was selected for the Tauschnitz series of reprints. Cloth a bit dusty and mild lean to the spine; small foredge ding; small abrasion to flyleaf; still a very nice, near fine copy in a near fine, mildly dusty dust jacket. Laid in is a bookplate signed by Greene.
166. -. Same title, the first American edition. Garden City: Doubleday Doran, 1929. Spine cloth faded and creased; shallow dampening to top edge of rear pages; very good in a fair dust jacket reassembled with tape on the verso of all folds and the spine and with chips remaining at the rear spine fold and the crown. Uncommon in any dust jacket whatever.
167. GREENE, Graham. In Search of a Character. London: Bodley Head (1961). The text of two African journals kept by Greene prior to the publication of A Burnt-Out Case and The Heart of the Matter. Fine in a very near fine, price-clipped dust jacket with faint spine fading and a small sticker shadow on the rear panel.
168. GRUMBACH, Doris. Chamber Music. NY: Dutton (1979). Her third novel, fourth book, inscribed by the author at the Iowa Writers' Workshop in 1983 to the former President of the University of Iowa, on his birthday. Fine in a near fine dust jacket.
169. GRUMBACH, Doris. The Ladies. NY: Dutton (1984). Inscribed by the author in the year of publication, at the Iowa Writers' Workshop. Fine in a very near fine dust jacket.
170. GRUMBACH, Doris. The Magician's Girl. NY: Macmillan (1987). Inscribed by the author "in true friendship" in November, 1986 -- i.e., two months prior to publication -- in Iowa City. Fine in a fine dust jacket.
171. GRUMBACH, Doris. Coming into the End Zone. NY: Norton (1991). A well-received memoir by this writer who over the years has become something of a feminist grande dame of American letters. Inscribed by the author in the month prior to publication. Fine in a fine dust jacket.