Catalog 129, C

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73. CALISHER, Hortense. Queenie. NY: Arbor House, 1971. A novel. The uncorrected proof copy of this novel by a writer whose complex and well-written novels have been compared to those of Dickens and Henry James. Fine in tall, padbound wrappers. A scarce and fragile state of this title. Signed by the author.

74. CALISHER, Hortense. Herself. NY: Arbor House (1972). An autobiographical work. The uncorrected proof copy. Fine in tall, padbound wrappers and signed by the author. An extremely scarce and fragile state, few of which would have been produced to begin with and fewer still of which will have survived.

75. CALISHER, Hortense. On Keeping Women. NY: Arbor House (1977). The uncorrected proof copy, with review material laid in. Fine in wrappers and proof dust jacket and inscribed by the author "but in protest against such terrible proof-copy." The author presumably refers to the poor quality of the print in this proof, and the cheap, pulpy paper on which it is printed. Apart from the quality of the production itself, a very nice copy.

76. CALVINO, Italo. Six Memos for the Next Millennium. Cambridge: Harvard University Press, 1988. The uncorrected proof copy of this collection of lectures Calvino was to deliver at Harvard in 1985-86. He died just before leaving for the U.S. The sixth "memo" or lecture had been worked out, reportedly, but not written, so only five are included in this posthumous collection. Fine in wrappers. Proof copies from university presses tend to be done in smaller quantities than those done by mainstream commercial publishers.

77. CAPOTE, Truman. In Cold Blood. NY: Random House (1965). The advance reading copy of his most famous book, a bestseller that redefined the boundaries between fiction and nonfiction and helped define the New Journalism of the 1960s. A story for the cold-blooded killing of a Kansas family that was shocking in its day for its portrayal of the lives and thoughts of the killers, as well as its graphic violence. Made into a powerful movie. Near fine in self-wrappers, with a bit of discoloration at the spine from the binder's glue.

78. -. Another copy. Crease to front flyleaf; stain to front cover; tanning and creasing to spine; very good in wrappers.

79. CARROLL, Jim. Living at the Movies. NY: Grossman, 1973. The uncorrected proof copy of the first book to be published by an "above-ground" publisher by this poet who was prominent in the New York City counterculture in the late Sixties. Carroll was already something of a legend before he was 18, and he had received glowing praise from Jack Kerouac, who wrote "at 13 years of age, Jim Carroll writes better prose than 89% of the novelists working today." He was part of the social milieu that included performers like Lou Reed and the Velvet Underground and poets such as Ted Berrigan, Ron Padgett and others. It was a cultural scene heavily defined by drugs and rock 'n' roll, and Carroll's writings comprise one of the great coming-of-age documents of the drug culture. He is now perhaps best-known as a rock musician, leader of the Jim Carroll Band. This is an important volume by one of the defining voices of the Sixties. A scarce book in its trade edition, it is much more so in proof format. Light diagonal crease to upper corner of front cover; else fine in wrappers.

80. CARVER, Raymond. What We Talk About When We Talk About Love. 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 the author'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. 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 cover; near fine in wrappers.

81. CARVER, Raymond. Cathedral. NY: Knopf, 1983. The uncorrected proof copy of this collection of stories 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. Pen indentations and creases to rear cover; near fine in wrappers with publicity statement (formerly stapled to front cover) laid in.

82. -. Another copy. Fine in wrappers and housed in a custom cardboard folding box.

83. CARVER, Raymond. This Water. Concord: William B. Ewert, 1985. The publisher's advance copy. One of eight prepublication copies prepared by the publisher, consisting of 13 loose sheets, 9" x 12", in double flat gatherings printed on rectos only. Numbered, dated and signed by the publisher on the top sheet. Of the eight copies so prepared, this is one of six with a blue and white label on the folding card-stock case. Fine.

84. CARVER, Raymond. Where Water Comes Together With Other Water. New York: Random House (1985). The uncorrected proof copy of this collection of poems, his first to be published by a major trade publisher, after several small-press volumes and limited editions. Fine in wrappers.

85. CARVER, Raymond. Ultramarine. NY: Random House (1986). The uncorrected proof copy of his second major collection of poems. Near fine in wrappers.

86. -. Another copy. Near fine in wrappers and signed by the author. Very uncommon signed: Carver died in 1988, and few signed copies of his later works turn up, especially in proof form.

87. CARVER, Raymond. The Painter and the Fish. Concord: Ewert, 1988. Prepublication proof issue. One of 15 unbound copies, unnumbered and unsigned, apparently page proofs and a proof of the wrapper. The woodcut illustrations are laid in and each is numbered "#8" and signed by Mary Azarian. Fine in wrappers.

88. CARVER, Raymond. Where I'm Calling From. NY: Atlantic Monthly, 1988. The definitive collection of his 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. 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.

89. -. Another copy. Tear at front spine fold; near fine in wrappers.

90. -.Another copy. Shallow creasing to front cover, and first leaf detached; still about near fine in wrappers. Signed by Tess Gallagher on the dedication page, which reads "Dedication tk [to come]." The book was dedicated to her.

91. CARVER, Raymond. A New Path to the Waterfall. NY: Atlantic Monthly (1989). The uncorrected proof copy of a posthumously published collection of poems, written during the period just before he died and mostly dealing with his impending death. Fine in wrappers.

92. -. Another copy. Near fine in wrappers that are slightly sunned and mildly soiled.

93. -. Same title. (London): (Collins Harvill) (1989). The uncorrected proof copy of the first British edition. Fine in wrappers.

94. CARVER, Raymond. Call If You Need Me. NY: Vintage (2001). The uncorrected proof copy of this collection of previously uncollected fiction and other prose. Edited by William Stull and with an introduction by Tess Gallagher. Fine in wrappers.

95. CASEY, John. An American Romance. NY: Atheneum, 1977. The uncorrected proof copy of his highly praised first book, which was called by The New York Times Book Review "the best novel of the year." Casey's third book, Spartina, won the National Book Award. Erasure abrasion on front cover, and a small surface gouge on (blank) rear panel; otherwise fine. An auspicious debut.

96. CASEY, John. Testimony and Demeanor. NY: Knopf, 1979. The uncorrected proof copy of his second book, a highly praised collection of stories. Laid in are two pages of publisher's promotional material, with review excerpts from Casey's first novel, including a John Irving blurb. Fine in tall wrappers, with a label pasted over bottom edge of pages.

97. CASTANEDA, Carlos. Journey to Ixtlan. NY: Simon & Schuster (1972/1973). The uncorrected proof copy of the third of his books featuring Yaqui shaman don Juan. Padbound; small upper corner bump; near fine in tall wrappers. Fragile and scarce.

98. CASTANEDA, Carlos. Tales of Power. NY: Simon & Schuster (1974). The uncorrected proof copy of Castaneda's fourth book in the remarkable "don Juan" series. Padbound; fine in tall wrappers.

99. CASTANEDA, Carlos. The Second Ring of Power. NY: Simon & Schuster (1977). The uncorrected proof copy of the fifth volume in Castaneda's ongoing series about the Yaqui Indian sorcerer don Juan, this volume focusing on don Juan's apprentice, dona Soledad. Bestselling books in the 1970s and 80s, they have since been the subject of controversy over the question of their truthfulness and authenticity i.e., whether they are fact or fiction. Regardless of the answer to that, they were extremely popular and highly influential. A couple tiny spots to front cover and abrasions to rear; paperclip marks to several pages; still very near fine in tall, padbound wrappers. A scarce and fragile state of the book.

100. CASTANEDA, Carlos. The Eagle's Gift. NY: Simon & Schuster (1981). The uncorrected proof copy. Another don Juan book. Fine in wrappers.

101. CHARYN, Jerome. American Scrapbook. NY: Viking (1969). The uncorrected proof copy. A novel about the internment of Japanese-Americans by the U.S. Government during World War II. Several page corners turned down, and light pencil markings by a reviewer on those pages; otherwise near fine in wrappers, and signed by the author.

102. CHASE, Joan. During the Reign of the Queen of Persia. NY: Harper & Row (1938). The uncorrected proof copy of her first book of fiction, for which she won the PEN/Hemingway Award. This copy is inscribed by Chase to one of the judges for the Award. Laid in is an invitation to the award ceremony. One spot rear cover; else fine in wrappers. A nice association copy of a well-received first novel.

103. CHASE-RIBOUD, Barbara. From Memphis and Peking. NY: Random House (1974). The uncorrected proof copy of this collection of poetry, her first book. Signed by the author. Publisher's ink comments crossed out in pencil on front cover; else near fine in tall wrappers.

104. CHATWIN, Bruce. The Songlines. London: Cape (1987). The uncorrected proof copy of Chatwin's fourth book, and by general consensus his best -- a "novel of ideas," as the publisher puts it, of Australian aborigines, and the questions about man that arise from the vast gulf that separates the culture of contemporary, Western civilized man from that of the wandering tribes of Australia, whose "dream tracks" or "songlines" delineate both a physical and a psychic geography. Mild rubbing to spine; else a very fine copy of a scarce proof.

105. CHAUDHURI, Amit. A New World. (London): Picador (2000). The advance reading copy of this novel of contemporary India by one of the most highly praised of the young generation of Indian writers. Fine in wrappers.

106. CHEEVER, John. The Stories of John Cheever. NY: Knopf, 1978. The uncorrected proof copy of this massive collection, which won the Pulitzer Prize and the National Book Critics Circle Award, and was a finalist for the National Book Award. One diagonal crease to upper corner of front cover and first few pages, otherwise near fine in wrappers.

107. CHESTER, Alfred. The Exquisite Corpse. NY: Simon & Schuster (1967). The uncorrected proof copy of his second novel. Very slight surface soiling and sunning to top edge, otherwise fine in padbound wrappers. Very scarce, and a very fragile format.

108. CLARKE, Arthur C. 2010: Odyssey Two. NY: Ballantine (1982). Two issues of the uncorrected proof copy of the sequel to the novel 2001: A Space Odyssey. The first issue, bound in pale blue wrappers and marked "Unedited Manuscript," is shot from typescript and bears textual differences from the later issue, which is also bound in pale blue wrappers but is marked "Uncorrected Proof" and is typeset. These comprise the first and third issues of this proof, with there having been an intermediate issue in yellow wrappers. The first issue is fine in wrappers; the third issue is near fine.

109. COETZEE, J.M. Waiting for the Barbarians. (n.p.): Penguin (1982). The uncorrected proof copy (marked "The advance reading copy" by the publisher) of the first American edition of this novel. Only published as a paperback in this country, but nonetheless selected as one of the best books of the year by the New York Times Book Review in 1982. A novel of an incipient race war in an unnamed African nation, patterned after the author's native South Africa -- an insightful and chilling book, a bit reminiscent of Kafka, by a two-time Booker Prize winner from South Africa. Fine in wrappers.

110. CONNELLY, Michael. Blood Work. Boston: Little Brown (1997). The advance reading copy of the first trade edition of this novel that introduced Terrell McCaleb, a retired FBI agent. Signed by the author. Fine in wrappers. Preceded by a signed limited edition published by Dennis McMillan.

111. CRACE, Jim. Continent. NY: Harper & Row (1987). The uncorrected proof of the first American edition of his first book, a collection of related stories that won the Whitbread Prize, the David Higham Prize for Fiction, and the Guardian Fiction Prize. Crace creates, in this volume, an imaginary continent -- the location in which all the stories take place, and the only link they have with one another. Each of his books has been praised for its effective use of place in giving his characters and stories context and, while each takes place essentially in a wholly invented environment, they engage questions of the interrelatedness of people and society with the landscape with both freshness and a substantial literary artistry. Fine in wrappers.

112. CREELEY, Robert. Later. NY: New Directions, 1979. Long galley sheets for this collection of poetry, printed on rectos only. Folded once, with publisher's label stapled to top sheet. A fine set. Scarce.

113. CREWS, Harry. The Knockout Artist. NY: Harper & Row (1988). The uncorrected proof copy of this novel about a boxer, which combines the toughness and sweetness, as well as the humor, that Crews is known for. This is the first issue, shot from typescript and paginated to 382. There was a later proof copy with typeset pages. Fine in yellow wrappers.

114. CRICHTON, Michael. Electronic Life. NY: Knopf, 1983. The advance reading copy of Crichton's extended, dated essay on computers and technology in general. Although the specific hardware and software Crichton talks about are all obsolete and completely irrelevant to today's computer environment, much of this book could be subtitled "How to think about computers," and is still quite relevant as an introduction for non-technical people. Crichton, of course, is the bestselling author of such novels (and films) as Jurassic Park, Rising Sun, The Andromeda Strain and many others. Near fine in wrappers.

115. -. Another copy. Paper clip impression on front cover and first few pages; else fine in wrappers.

116. CRICHTON, Michael. Sphere. NY: Knopf, 1987. The uncorrected proof copy of this thriller that was made into a successful movie. A combination adventure novel/techno-thriller. Fine in wrappers.

117. CRICHTON, Michael. Travels. NY: Knopf, 1988. The advance reading copy of this book of nonfiction that deals with the author's travels, both inner and outer, in quest of spiritual understanding and a sense of meaning in life. Warmly inscribed by the author in the year of publication. Fine in wrappers.

118. CROWLEY, John. Aegypt. NY: Bantam (1987). The uncorrected proof copy of his fifth novel, the first book in an ambitious tetralogy that to date also includes Love and Sleep and Daemonomania. Crowley calls upon the historical figures of John Dee and Giordano Bruno, Renaissance alchemists, among others, to make the case that there is more than one history of the world. Finalist for the World Fantasy Award and selected as one of David Pringle's 100 best fantasy novels of all time. According to the author, there were textual differences between this proof and the final published book. Signed by the author. Near fine in wrappers.

119. CROWLEY, John. Novelty. NY: Doubleday (1989). The uncorrected proof copy of this collection of four long stories, including the award-winning "Great Work of Time." Finalist for the 1990 World Fantasy Award for Best Collection. Three of Crowley's books were chosen by critic Harold Bloom for his volume that lists the titles that comprise the Western canon. Fine in wrappers.

120. CUMMINGS, E.E. Selected Poems. NY: Liveright (1994). The uncorrected proof copy of a collection published on the centennial of the poet's birth, which includes, for the first time in a volume of his poetry, a selection of his drawings and paintings, and an exploration of their relation to his writing, including the influence of cubism on his early experiments with typographical layout. Near fine in wrappers.

121. CUNNINGHAM, Michael. The Hours. NY: FSG (1998). The advance reading copy of the author's highly praised fourth book, which won the Pulitzer Prize and the PEN/Faulkner Award, a rare literary double. Fine in wrappers.

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