Catalog 135, I
137. -. Same title, the Bloomsbury Classics edition. (London): Bloomsbury (1991). The first British hardcover edition of Irving's first novel. Inscribed by the author: "For ___, with love...now that I'm old enough to have written a 'classic' -- / John Irving." A nice inscription, and a nice association copy. Light spine bump, else fine in a very near fine dust jacket.
138. IRVING, John. The Water-Method Man. NY: Random House (1972). His second book, which, like his first, sold about 6000 copies. Inscribed by the author on the half title: "For Kathryn Carr: Despite certain similarities, this is not Kurt Vonnegut -- / John." Additionally signed in full by Irving on the first blank. Slight dampstaining to cloth on the rear cover; very good in a near fine, price-clipped dust jacket.
139. IRVING, John. The 158-Pound Marriage. NY: Random House (1974). His third novel. Small label removal shadow front flyleaf; near fine in a near fine dust jacket with upper edge wear. Together with the December 1973 issue of Viva (NY: Viva International, 1973), which prints a four page excerpt from the novel, ten months prior to the book's publication. Fine. For both:
140. IRVING, John. The World According to Garp. NY: Dutton (1978). His fourth novel and breakthrough book, which went into numerous printings, became a multi-million copy bestseller and a National Book Award winner in its paperback release. Signed by the author. Very near fine in a near fine dust jacket with dampstaining visible to verso at the base of the spine. A very attractive copy of Irving's most famous book, seldom found in fine condition and signed.
141. -. Same title. The advance reading copy. The first printing of Garp was reported at 35,000 copies; none of Irving's previous books had sold even 5,000 copies, with one of them having had sales under 2000. Irving switched publishers for this book, and his new publisher decided to promote the novel heavily. After issuing two sets of proofs in small numbers for early readers and reviewers, Dutton printed this advance reading copy for wide distribution to the book trade. It worked in bringing attention to Irving's novel, which became a bestseller; since then, Irving's books have had six-figure first printings and his reputation as a major American novelist is secure. The publisher's risk, in producing such a large first printing, and their marketing efforts -- including creating this advance copy -- played no small part in this transformation. This copy is signed by the author. Spine cocked and creased with staining to covers; about very good in wrappers.
142. -. Same title, the first British edition. London: Gollancz, 1978. Complimentary copy with publisher's slip laid in. Signed by the author. Mild staining to top edge; else fine in a near fine dust jacket. Very uncommon signed.
143. -. Same title, the first Australian edition. (n.p.): Hutchinson of Australia, 1978. Owner name on flyleaf; else fine in a near fine, spine-faded dust jacket with trace wear at the crown.
144. -. Same title. Original artwork for the Pocket paperback edition. NY: Pocket Books (1978). Painting by Robert A. Maguire of Garp at the typewriter with his two sons. Signed by R.A. Maguire. 22 3/4" x 20". Painted on white Bainbridge Board which shows handling at the edges; else fine. Together with a first printing of the Pocket Book edition featuring this design. Trace rubbing to the rear fold; fine. In a marketing experiment, Pocket Books decided to issue the paperback edition of Garp with six different cover designs, this being the original artwork for one of them. A unique artifact.
145. -. Same title. Press kit for the film version. Burbank: Warner Bros. (1982). Includes handouts on Irving, screenwriter Steve Tesich, director George Roy Hill, and cast members Robin Williams, Mary Beth Hurt, Glenn Close, and John Lithgow. Also includes 19 photographs, 18 stills from the movie (including one featuring Irving in the role of wrestling referee) and one photograph of Irving talking to Tesich. Also includes a publication flyer signed by Robin Williams. All items fine and laid into a lightly rubbed cardstock folder.
146. -. Same title, the Modern Library edition. NY: Modern Library (1998). With a new introduction by the author. Fine in a fine dust jacket and signed by Irving.
147. IRVING, John. The Hotel New Hampshire. NY: Dutton (1981). His fifth book. Fine in a fine dust jacket. Together with a broadside (Washington, D.C.: Library of Congress, 1979), printed in honor of a reading by Irving of his work then in progress. Includes an excerpt from The Hotel New Hampshire and an autobiographical statement. 10" x 13", folded in thirds for mailing. Fine, and signed by Irving. Very uncommon: we have never seen the broadside before, and it is probably the first published excerpt from The Hotel New Hampshire. For both:
148. IRVING, John. The Cider House Rules. NY: Morrow (1985). The first trade edition of his sixth novel, the basis for the 1999 film, for which Irving wrote the Academy Award-winning screenplay. Signed by the author. Fine in a dust jacket with a small crease at the heel, else fine.
149. -. Same title, the screenplay. Los Angeles: FilmColony/Miramax, 1995. Screenplay by Irving, adapted from his novel. This copy states "Revised: December 1995" and bears the signature of Michael Goldsmith as well as changes and proposed changes to the text, apparently in Goldsmith's hand. Bradbound in Miramax covers; fine.
150. -. Same title, a later version of the Irving screenplay. Santa Monica/Beverly Hills: FilmColony/The Gersh Agency, 1997. "Revised: March 1997." Bradbound in Gersh Agency covers; fine.
151. -. Same title, a later version of the Irving screenplay. NY: FilmColony/Miramax (1998). Most pages bear the markings of having been transmitted by fax machine from FilmColony, and the whole has been given a Miramax cover sheet. Fine; bradbound in a near fine Miramax binder with a tear to the window opening on the title page.
152. -. Same title, the "Taper Workshop Draft." Los Angeles: Mark Taper Forum, 1998. Adapted by Peter Parnell from Irving's novel for a theater production at the Mark Taper Forum in Los Angeles in 1998. A considerably different script, broken up into scenes for a five-act play. Bradbound in Gersh Agency covers; front cover separating; near fine.
153. -. Same title, the UK pressbook. (n.p.): Miramax (n.d.). 70+ pages, most of it an indepth look at the making of the movie. Fine in stapled wrappers.
154. -. Same title, the final version of the screenplay [(n.p.: (n.p.) (n.d.)], as it was sent to Debbie Reynolds for Oscar consideration. Inscribed by Debbie Reynolds: "Sent to Debbie Reynolds for Oscar consideration/ Debbie Reynolds/ an excellent film." Bradbound; small stain rear cover, else fine.
155. -. Same title, the video cassette. Labeled "Academy Screener" on the tape and in a box listing the thirteen categories in which the film was to be considered for Academy Award nominations; in the end it was nominated for seven awards and won two, including the award for Irving's screenplay. A distribution checklist label on the box, which has a bit of rubbing; else fine.
156. IRVING, John. A Prayer for Owen Meany. Franklin Center: Franklin Library, 1989. The true first edition of what may be Irving's best-loved book (a substantial claim for a book by the author of The World According to Garp), and the novel from which the movie Simon Birch was adapted. Leatherbound, gilt stamped, with gilt page edges and silk ribbon marker. With a special introduction for this edition that does not appear in the trade edition. Signed by the author. Fine.
157. -. Another copy. Signed by the author and additionally inscribed by Irving to Rob Hansen: "For Rob -- / with every hope that, with your help, Son of the Circus will be as good a novel as this one./ John." Leatherbound, gilt stamped, with gilt page edges and silk ribbon marker. Fine. With a letter laid in from Rob Hansen to the first purchaser of this copy explaining, "John Irving gave me this copy after I helped with some details in moving his screenplay A Son of the Circus into a novel. He was also kind enough to credit me in the acknowledgements..." A nice association copy of this novel.
158. -. Same title, the first trade edition. NY: Morrow (1989). Fine in a fine dust jacket. While not an uncommon book -- the first printing numbered in six figures -- fine copies of it are remarkably uncommon.
159. -. Another copy of the trade edition. Inscribed by the author on the title page. Additionally, Irving has transcribed the first sentence on the half-title, a long sentence that takes up most of the page in Irving's transcription. Fine in a fine dust jacket. A unique and notable copy: in his introduction to the Modern Library edition of Owen Meany, Irving wrote: "I may one day write a better first sentence to a novel than that of A Prayer for Owen Meany, but I doubt it." At another time, Irving advised writers: "Whenever possible tell the whole story of the novel in the first sentence." In Owen Meany, he apparently felt he had done that as well as he ever would.
160. -. Same title, advance audio cassette. (NY): Morrow, 1989. An audiotape of Irving reading an excerpt from A Prayer for Owen Meany, released prior to the book's publication as a promotional device for the book. Never offered for sale. An elaborate, illustrated clamshell box and original shipping carton. Fine.
161. -. Same title, the Canadian uncorrected proof copy. (n.p.): Lester & Orpen Dennys (1989). Near fine in wrappers. The Canadian edition was released simultaneously with the American edition, although in much smaller numbers.
162. -. Same title, the advance reading copy of the British edition. (London): Bloomsbury (1989). Fine in wrappers. Laid in is a photographic postcard of Irving taken by Marion Ettlinger, whose (slightly different) photo of Irving was on the jacket of the U.S. trade edition and is also on this advance reading copy. The postcard (NY: Fotofolio, 1988) is signed by Irving.
163. -. Another copy of the British advance reading copy. Inscribed by the author. Mild edge-sunning to pages; else fine in wrappers. Uncommon, especially signed.
164. IRVING, John. Photograph. (n.p.): (n.p.) (n.d.). [c.1989]. A 4" x 4" photograph of Irving, printed vertically on 4" x 6" photographic paper. In the white space beneath the image, the photo is signed by Irving and dated 1 October 1990. Although there is no attribution, this is apparently a Marion Ettlinger photograph from the same sitting as the Ettlinger photograph of Irving that appears on the dust jacket of A Prayer for Owen Meany. Fine.
165. IRVING, John. Typed Letter Signed. 1992. A full-page letter written to Rob and Marilyn Hansen, thanking them for a present sent on the occasion of the birth of Irving's son Everett. Irving discusses Everett's presence in his life and the absence and whereabouts of his two grown sons. He then talks about the screenplay of "Son of the Circus" and the novel of the same name that is in progress. He also expresses hope that the screenplay "The Cider House Rules" will be free of legal battles and ready for production in 1994 (the film was eventually released in 1999). Written on personalized letterhead and signed "John." Folded in thirds for mailing; fine, with envelope.
166. IRVING, John. Trying to Save Piggy Sneed. (London): Bloomsbury (1993). The uncorrected proof copy of the first edition of his first collection of short pieces, preceding the U.S. edition (expanded from this collection) by over two years. Fine in wrappers.
167. -. Same title, the first Canadian edition. (Toronto): Knopf Canada (1993). Published after the British edition (or possibly simultaneously; we've heard conflicting stories). Signed by the author. Fine in a fine dust jacket. Both the British and Canadian editions, because of the smaller populations of those countries compared to the U.S., would have been printed in numbers much smaller than the U.S. edition.
168. IRVING, John. A Son of the Circus. (London): Bloomsbury (1994). The uncorrected proof copy of the first British edition. Signed by the author. Near fine in wrappers. An uncommon proof, especially signed.
169. IRVING, John. The Imaginary Girlfriend. (London): Bloomsbury (1996). The first British edition of this title, which was incorporated into the U.S. edition of Trying to Save Piggy Sneed and has had no separate U.S. printing in hardcover; it was released as a paperback in the U.S.in 2002. Signed by the author. Fine in a fine dust jacket. Uncommon signed.
170. IRVING, John. A Widow for One Year. (London): Bloomsbury (1998). The true first edition of this novel, which was published in the U.K. prior to its release in the U.S. This is a limited edition that preceded the British trade edition. One of 1000 numbered copies, in a different binding than that of the trade edition. Clothbound, with pictorial label on front cover. Fine, without dust jacket, as issued. Although not called for, this copy has been signed by the author.
171. -. Same title. (Amsterdam): Anthos (1998). The first Dutch edition and the first trade edition, preceded only by a limited advance issue of the British edition. Apparently, like the main character in the novel -- an American novelist with an affinity for Amsterdam, who arranges to have the first edition of her new book published in the Netherlands prior to its issuance in her home country -- Irving requested this publication sequence. The reason for an advance English edition preceding the Dutch edition reportedly had to do with the fact that the Dutch books were printed in England, and the advance English copies were released while the printed books were en route to the Netherlands. Scarce: it can be assumed that the publication of an English-language edition in a non-English speaking country with a population 1/20th that of the U.S. would be done in very small numbers. Fine in a fine dust jacket.
172. -. Same title, the advance reading copy of the British trade edition, marked "Uncorrected Proof Copy." (London): Bloomsbury (1998). Signed by the author. Minor edge sunning; very near fine in printed wrappers.
173. -. Same title, an advance issue (n.p.: n.p., n.d.) consisting of ringbound photocopied typescript. 743 pages, plus one page inserted via a fax from the Turnbull Agency. The title page states (in photocopy): "Strictly limited circulation: this t.s. not to be reproduced." Inscribed by the author in the month of publication, "For Willie, w/my deepest appreciation and gratitude." Willie Anderson is a UK bookseller who had been a proponent of Irving's since Garp. As a result he was asked by Irving's UK publisher to review this novel and give his thoughts, and a quote from him -- "Brilliant, unputdownable, wonderful" -- appears on the British advance reading copy of the book. Fine. A very uncommon format -- we've never seen one before -- and doubtless even more uncommon signed.
174. IRVING, John. "Absolut Irving." (n.p.): Absolut/V&S Vin & Spirit, 1998. An Absolut Vodka advertisement, featuring a story by Irving which features Absolut Vodka. For use as a two-page magazine spread. Paperclip indentation; folded once; else fine. Scarce Irving ephemera.
175. IRVING, John. My Movie Business. NY: Random House (1999). The uncorrected proof copy of Irving's account of his career involvement with the movies, from thirteen years of working on the screenplay for The Cider House Rules (for which he won an Oscar) to trying, unsuccessfully, to get his first novel, Setting Free the Bears, made into a film. Fine in wrappers.
176. -. Same title, the uncorrected proof copy of the British edition, which preceded the U.S. edition. (London): Bloomsbury (1999). Near fine in wrappers.
177. IRVING, John. The Fourth Hand. NY: Random House (2001). Signed by the author. Irving, who has been reluctant to sign books in recent years, did a very small number of readings from this book at which he signed copies. Perhaps his scarcest trade edition signed. Fine in a fine dust jacket.
178. -. Same title, an advance copy of the Canadian edition. (n.p.): Knopf Canada, 2001. 507 pages of photocopied typescript, printed on both sides, with "Revised: December 11, 2000" on the title page. Ringbound in Knopf's cardstock covers. Fine. An uncommon format, designated on the cover as being "for in-house use only." A glance at the text indicates that the Acknowledgements section, at least, was revised for the book's final publication.
179. -. Same title, the advance reading copy of the first British edition. (London): Bloomsbury (2001). Marked "Uncorrected Proof Copy." Fine in wrappers.
180. -. Same title, the audiobook. NY: Random House AudioBooks, 2001. The unabridged novel, on seven cassette tapes, read by Jason Culp. Fine in a fine carton, which has been signed by Irving.
181. (IRVING, John). "A Winter Branch" in Redbook, Vol. 126, No. 1. (Dayton): (McCall), 1965. A story billed as Irving's "first appearance in a national magazine," along with a short biographical piece about him and a photograph of a very young John Irving. A bit of dampstaining to the foredge and a small ring on the cover; near fine in wrappers.
182. (IRVING, John). "Weary Kingdom" in The Boston Review, Vol. 2, No. 1. (Cambridge): Boston Review, 1968. An early appearance in print for Irving, in the Spring-Summer issue of the review; Irving's first novel came out in January, 1969. Folds rubbed; near fine. Signed by Irving at his contribution.
183. (IRVING, John). RESNIK, Henry S. "At Loose Ends in the Vienna Woods" in Saturday Review, Vol. LII, No. 6. (NY): (Saturday Review), 1969. A review of Setting Free the Bears, Irving's first novel. Mailing label front cover; near fine in stapled wrappers.
184. (IRVING, John). "Students: These Are Your Teachers" in Esquire, Vol. 84, No. 3. (Chicago): (Esquire, Inc.), 1975. A story by Irving, in the form of letters of complaint to a typewriter repairman. Partial mailing label front cover; slight creasing; near fine in wrappers.
185. (IRVING, John). "The Pension Grillparzer" in Antaeus 24. (NY): (Antaeus), 1976. A self-contained story that was incorporated into The World According to Garp. Surface soiling, and one small edge tear to the foredge of the front cover; very good in wrappers.
186. (IRVING, John). "Life After Graduation According to Garp" in Esquire, Vol. 91, No. 6. (NY): (N.E. Corporation), 1979. An article about having addressed Mount Holyoke's graduating class, after he had just resigned from a teaching position there. Mailing label to cover; near fine in stapled wrappers.
187. (IRVING, John). "Best Seller: What Does It Really Mean?" in Vogue, April, 1979. (NY): (Conde Naste), 1979. Irving writing post-Garp on novels as the last frontier of individuality in America (along with rock stardom and suicide). A few unrelated pages detaching; very good in wrappers.
188. (IRVING, John). "Interior Space" in Fiction, Vol. 6, No. 2. (NY): (City College of New York) (1980). A story that Irving wrote in 1974 which, when published here, was selected as a 1981 O. Henry Award winner. Other writers in this volume include Donald Barthelme, Italo Calvino, Adolfo Bioy Casares and Joseph McElroy, among others. A little edge-sunned; near fine in wrappers. An uncommon appearance: Irving has published few short stories that were not part of novels-in-progress.
189. (IRVING, John). "Interior Space" in Prize Stories 1981. Garden City: Doubleday, 1981. Faint foxing to top edge; very near fine in a near fine dust jacket with modest edge wear.
190. (IRVING, John). WILLIAMS, Tod. Door in the Floor. NY: This is That Corp (n.d.)[c.2004]. Williams' script based on Irving's novel A Widow for One Year. Photocopied "Final Draft." Nominated for several international awards. Bradbound; one small tear on the cover page at the binding; else fine.
191. ISHIGURO, Kazuo. A Pale View of Hills. (London): Faber & Faber (1982). His first book. Stamp of literary agent Deborah Rogers Ltd on front flyleaf (address crossed out); fine in a fine dust jacket. A very nice copy of his acclaimed first novel, a view of postwar Nagasaki, Japan -- the author's birthplace -- through the eyes of a middle-aged Japanese woman now living in England. Winner of the Winifred Holtby Prize of the Royal Society of Literature.
192. ISHIGURO, Kazuo. An Artist of the Floating World. London: Faber & Faber (1986). His second novel, winner of the Whitbread Award and shortlisted for the Booker Prize. This is the second issue, printed by Richard Clay. Pages edges mildly darkened; still fine in a fine dust jacket.
193. ISHIGURO, Kazuo. The Remains of the Day. London: Faber & Faber (1989). His third book, winner of the Booker Prize and the book that established Ishiguro as a major literary figure in contemporary England. Basis for the 1993 film with Anthony Hopkins that was nominated for eight Academy Awards. Fine in a fine dust jacket.
194. -. Same title, the first American edition. NY: Knopf, 1989. Slight spotting to top stain; else fine in a fine dust jacket.
195. ISHIGURO, Kazuo. The Unconsoled. London: Faber & Faber (1995). His fourth novel, which was short-listed for the Booker Prize. Signed by the author. Fine in a fine dust jacket.
196. ISHIGURO, Kazuo. When We Were Orphans. (London): Faber & Faber (2000). A novel, set in Shanghai and London in the 1930s. Signed by the author. Fine in a fine dust jacket.
197. ISHIGURO, Kazuo. Early Japanese Stories. London: Belmont Press, 2000. Three stories that first saw publication in the early 1980s and are here collected with a new introduction by the author. Of a total edition of 250 copies, this is one of 50 "standard" copies signed by Ishiguro and by the illustrator, Eileen Hogan. Fine without dust jacket, as issued.