Catalog 140, T-V
193. TAYLOR, Peter. The Collected Stories of Peter Taylor. NY: FSG (1969). A review copy of this collection by an author whose reputation has been built largely on the strength of his stories and who won, in the last years of his life, both the Pulitzer Prize and the PEN Faulkner Award. Inscribed by the author in 1990: "For ___ ___/ with all good wishes/ and with much appreciation/ for the cordial and the kind/ words of your letter./ Peter Taylor." Spotting to top stain; else fine in a near fine dust jacket.
194. TAYLOR, Peter. Eudora Welty. (n.p.): Stuart Wright, 1984. An offprint from the limited edition Eudora Welty: A Tribute. One of five numbered copies signed by Taylor, this being copy number 2. Taylor recounts his meeting Welty and their subsequent friendship. Fine in wrappers. A scarce item, linking two of the preeminent Southern authors of the 20th century.
195. THOMAS, D.M. Birthstone. London: Gollancz, 1980. The uncorrected proof copy of the second novel by the author of The White Hotel. This was the author's own copy, with his holograph corrections throughout. A number of sentences are deleted, changed or, in some cases, added in the author's own hand. Unique.
196. THOMPSON, Hunter S. Hell's Angels. London: Allen Lane/Penguin, 1967. The first British edition of Thompson's first book, which he wrote after spending a year hanging out with (and getting beaten up by) members of the famous motorcycle gang. One of the first examples of the participatory "gonzo" journalism that Thompson perfected. Signed by the author ("H.S. Thompson"), with his rubber stamp "Sexually Explicit Material" above the signature. With a full-page multi-color drawing of Thompson by Ralph Steadman, with the caption "Don't Draw Hunter, Aspen Chapter [of the Hell's Angels]." A near fine copy in a very good, rubbed dust jacket with wear to the crown and a creased tear at the upper rear spine fold. Much scarcer than the American edition: we suspect the hardcovers represent some sort of edition for libraries or a trial publication and not an edition that was distributed to the book trade in general. In custom clamshell case.
197. THOMPSON, Hunter S. and BENTON, Thomas. Aspen Wallposter, Vols. 1-5. Aspen: Aspen Wallposter Corporation, 1970. A broadside counterculture publication conceived by Thompson and Benton after the demise of the Aspen Illustrated News. Visuals by Benton on one side; commentary, mostly by Thompson, on the other. 15 3/4" x 22 1/4", except Volume 4, which includes advertising and is a larger sheet folded once, down to this size. Volume 4 is signed by Benton; Volume 5, which is a political poster advocating Thompson for sheriff, is signed (initialed) by Thompson and signed by Benton. Volume 1 is matted; Volume 3 was once tacked at the corners; Volume 5 was once hung and has a small hole and rubbed area near the word "Aspen;" all else is fine. A complete set of this ephemeral production. Scarce, especially signed. For the five:
198. THOMPSON, Hunter S. Fear and Loathing in Las Vegas. NY: Random House (1971). Thompson's second book, a hilarious, drug-soaked memoir of a trip to Vegas that became his defining work. Illustrated by Ralph Steadman, with his bizarre and unforgettable ink drawings, the perfect complement to Thompson's bizarre and unforgettable prose. This copy is inscribed by Steadman, with a caricature of Thompson and additionally initialed by Steadman for Thompson on the same page. Also signed by Thompson in full on a blank tipped in after the front free endpaper. Board edges sunned as usual; else fine in a near fine dust jacket with slight shelf wear.
199. THOMPSON, Hunter S. Screwjack. Santa Barbara: Neville, 1991. A collection of three short pieces by Thompson, along with a half-mad letter to the publisher that serves as introduction to the volume. Thompson's first limited edition; one of 300 numbered copies signed by the author. Additionally, this copy is signed by Ralph Steadman who has turned the Gonzo logo on the endpaper into a caricature and initialed for Thompson by Steadman below Steadman's signature. Fine without dust jacket, as issued.
200. THOMPSON, Hunter S. and STEADMAN, Ralph. Fire in the Nuts. Woody Creek/Loose Valley/Blue Grass/High Desert: Gonzo International/Steam Press/Petro III Graphics/Sylph Publications (2004). A limited edition of an early, but previously unpublished, story by Thompson, with 13 illustrations by Steadman. Of a total edition of 176 copies, this is one of 26 lettered copies signed in full by Thompson and Steadman, with additional Steadman print, "The Brain of Hunter S. Thompson," laid in. The book is quarterbound in burgundy Asahi cloth with illustrated front panel and black Asahi cloth rear panel and burgundy endpapers. All elements laid into a clamshell box bound in full black Asahi cloth with illustrated and black Asahi cloth linings. Fine.
201. TRUDEAU, Garry. Planet Doonesbury. Kansas City: Andrew McMeels (1997). A collection of Trudeau's Doonesbury comics. Inscribed by Trudeau to Annie Dillard, "from my planet to yrs." Both Trudeau and Dillard are recipients of the Pulitzer Prize. Quarto. Faint corner bump; else fine in self-wrappers.
202. TWAIN, Mark. Autograph Letter Signed, to Bret Harte. [1876]. Dated July 13. Twain asks Harte for an autograph to give to a clergyman he has met in Ireland who is an autograph collector and "a mighty good fellow -- for a Christian." He also recounts that he has "just finished writing the book to-day (900 pages MS.,)" -- "the book" being Tom Sawyer -- "but can't print now, because I have a book going through the press at this time," referring to Sketches, New and Old. The letter is signed "Mark." Twain and Harte had a longstanding friendship dating from their time in the 1860s in San Francisco. Harte, editor of the literary weekly The Californian, hired Twain as a writer. Their friendship continued after they went their separate ways, and shortly after this letter was written, when Twain returned to the U.S. from abroad, Harte visited him in Hartford, Connecticut, and the two collaborated on the play Ah Sin. A wonderful association between two of the most prominent American writers of the 19th century, written on the day Twain finished one of his most famous books, and referring to its manuscript. Two small pages written on one sheet, approximately 7" x 10", folded to make four pages. Fine.
203. UPDIKE, John. Rabbit, Run. NY: Knopf, 1960. His second novel, which introduced Rabbit Angstrom and began the sequence of novels that will likely stand as Updike's major work. This copy is inscribed by Updike, who has also transcribed the last three sentences of the book. A fine copy in a very near fine dust jacket with slight rubbing to the crown and a short closed edge tear on the rear panel.
204. UPDIKE, John. Bath After Sailing. (Stevenson): (Country Squire) (1968). A single poem, and his first book to be issued as a limited edition. One of 125 numbered copies signed by the author. Trace edge sunning; else fine in saddle-stitched cardstock covers.
205. UPDIKE, John. Six Poems. (n.p.): Aloe, 1973. One of the earlier and scarcer of his limited editions, having had a small printing and been done at a time before he was as widely collected as he later became. Of a total edition of 126 copies, this is one of 26 lettered copies signed by the author. Faint, thin strip of fading along the top edge of the front cover, otherwise fine in saddle-stitched self wrappers.
206. UPDIKE, John. Mites. Northridge: Lord John Press, 1990. A miniature book of poems, measuring approximately 3" x 2 1/4". Of a total edition of 226 copies, this is one of 26 lettered copies signed by the author. Fine in a fine slipcase.
207. UPDIKE, John. The Women Who Got Away. Concord: Ewert, 1998. The first separate publication of a story that originally appeared in The New Yorker. Of a total edition of 150 copies, this is one of 15 copies bound in quarter leather, signed by the author and with a signed original print by Barry Moser laid in. An extremely small limitation for an Updike book. Fine.
208. (UPDIKE, John). "The Old Tobacconist" in 75 Aromatic Years of Leavitt & Peirce in the Recollection of 31 Harvard Men. Cambridge: Leavitt & Peirce, 1958. The hardcover issue of this very early appearance in print by Updike, Roberts B2. Harvard alumni commemorate the 75th anniversary of a pool hall/tobacco store. Fine in a heavily chipped glassine dustwrapper, presumably original. Inscribed by Richard Ehrlich, Harvard graduate and the President of Leavitt & Peirce. Ehrlich also provides a foreword. Time magazine review laid in. A very scarce book in the hardcover printing, and Roberts' checklist doesn't note there having been a dust jacket.
209. (UPDIKE, John). The Art of Adding and the Art of Taking Away. Cambridge: Harvard College Library, 1987. The catalogue of an exhibition of Updike's manuscripts at the Houghton Library, with an introduction by Updike and a number of his manuscript drafts reproduced in facsimile. Inscribed by Updike to his British publisher: "For André [Deutsch]/ a souvenir of/ his most recent/ trip to Beverly Farms/ All best,/ John Updike/ 9/7/87." Updike then crossed out the "Updike" in the signature. Quarto; spine and edge-sunned; near fine in wrappers. With a letter of provenance, authenticating the origin of this copy as Deutsch himself.
210. VOLLMANN, William T. Butterfly Stories. (London): Deutsch (1993). Of a total edition of 126 copies, this is one of 100 numbered copies signed by the author. Quarterbound in cloth and marbled paper boards, top edge gilt. Fine in cloth slipcase.
211. VONNEGUT, Kurt. Player Piano. London: Macmillan, 1953. The first British edition of his first book, a satire on automation and the Electronics Age. Signed by Vonnegut with a self-caricature. An extremely scarce edition: 3000 copies were printed and something like 1000 of them were pulped. When the publisher decided to reprint the book in the late 1960s, they reported that they were unable to locate a single copy, even in the British Museum; and Asa Pieratt and Jerome Klinkowitz were unable to locate a copy when they compiled Vonnegut's bibliography. Heavy foxing to foredge and endpages; a very good copy in a good, foxed, spine-faded and price-clipped dust jacket with a couple chips and edge tears and a fading Macmillan Overseas Library stamp on the front flap. In a custom clamshell case.
212. VONNEGUT, Kurt. Cat's Cradle. NY: HRW (1963). One of his greatest novels. Signed by the author with a self-caricature. One of Pringle's 100 best science fiction novels, nominated for the Hugo Award, and chosen by the Modern Library as one of the best 100 novels of the 20th century. Faint spot to front board and top stain; near fine in a near fine, price-clipped dust jacket with tiny chips and tears to top edge. In custom clamshell case.
213. VONNEGUT, Kurt. God Bless You, Mr. Rosewater. NY: HRW (1965). Vonnegut's sixth book. Signed by the author with a self-caricature. Modest mottling to boards and flaking to spine lettering; near fine in a very near fine dust jacket with slight wear at the spine base. In a custom clamshell case.
214. VONNEGUT, Kurt. Slaughterhouse-Five. (NY): Delacorte (1969). His masterwork, a powerful fictional memoir of his experiences during the Allied fire-bombing of Dresden, Germany. The first printing was 10,000 copies. Signed by the author with a self-caricature. On all three major lists of the top books of the 20th century. Boards a bit splayed; very slight foxing to foredge and top edge; still near fine in a near fine, modestly foxed dust jacket. In custom clamshell slipcase.
215. -. Same title. London: Jonathan Cape (1970). The uncorrected proof copy of the first British edition. Signed by the author with a self-caricature in 1997. Spine- and edge-darkened with a few creases and a small ink spot at the spine base. Very good in wrappers. Scarce.
216. VONNEGUT, Kurt. Between Time and Timbuktu. NY: Delacorte (1972). A "space fantasy" for television, created by David O'Dell from works by Vonnegut, and then given to Vonnegut to, in his words, "fart around with." With photographs by Jill Krementz as well as stills from the television production. Vonnegut does not count this as one of his own publications, but he did write the preface. Signed by Vonnegut with a self-caricature. One of Vonnegut's most elusive titles, both because of its fragile "perfect-bound" construction and a first printing that one would suspect was smaller than those of his novels. Fine in a near fine dust jacket with light dampstaining and chipping to the corners. In a custom clamshell case.
217. VONNEGUT, Kurt. Free at Last! Lexington: Petro III Graphics, 2004. The "Freedom Portfolio," hand printed by Joe Petro and featuring text and artwork by Vonnegut: one print of Vonnegut himself, one print of Trout, one print of the story of Trout's birdcage, and ten prints, in ten separate colors, of the birdcage. Signed by Vonnegut with a self-caricature under the printed line "Free at Last." Issued in an edition of only 15 numbered copies. A whimsical, elegant production, suitable for mounting and framing, and produced in a tiny limitation. Fine. In printed folding chemise, wraparound birdcage band and clamshell case.
218. VONNEGUT, Kurt. Missing in Action. (Lexington): (Joe Petro III) (2004). A limited edition printing, for the first time, a May 29, 1945 letter home written by PFC Kurt Vonnegut, Jr. and concerning the events of the death-defying months since he was taken prisoner of war on December 19, 1944. Vonnegut's wry and heart-rending recounting of that experience forms the foundation for his classic novel Slaughterhouse-Five. Of a total edition of 126 copies, this is one of 26 lettered copies signed by the author with a self-caricature. Includes a bound-in silkscreen of the Vonnegut character Kilgore Trout and a laid-in silkscreen, "Goodbye Blue Monday," each also signed by Vonnegut. Designed and published by Joe Petro III; silkscreened at Petro III Graphics in Lexington, KY; text hand set in Joseph Blumenthal's Emerson type and printed by Larkspur Press in Monterey, KY, on a hand-fed C&P press on Rising Stonehenge paper; half-bound by Walt Bartholomew of Sylph Productions, Tucson AZ, in brown Nigerian goatskin and marbled paper with full Record Basalt cloth slipcase; spine gilding by Richard S. Lamb, New Lamb Bindery, Bennington, VT; marbled paper handmade by Iris Nevins, Johnsonburg, NJ; frontispiece photograph courtesy of Edie Vonnegut and the Vonnegut Archive, Barnstable, MA. A heroic production all around. Fine.
219. (VONNEGUT, Kurt). Happy Birthday, Kurt Vonnegut. (NY): (Delacorte Press) (1982). A festschrift for Kurt Vonnegut on his sixtieth birthday. Issued in an edition of 500 copies and privately distributed. With original contributions by John Irving, John Updike, E.L. Doctorow, Richard Yates, Irwin Shaw, Norman Mailer, Garry Trudeau, Truman Capote, Jerzy Kosinski, Bernard V. O'Hare and many others, including family members. Compiled by Jill Krementz. Although not called for, this copy is signed by Vonnegut and dated on his 79th birthday. Laid in is a copy of the 1982 seating chart (Updike sat with Vonnegut; John Irving sat with Morley Safer). Faint spot to cloth at spine base; still fine in a fine slipcase. Uncommon signed; and we've never seen the seating chart before.
220. (VONNEGUT, Kurt). KREMENTZ, Jill. Photograph. Undated. Photograph of Vonnegut by Jill Krementz. 14" x 11"; black & white; with Vonnegut sitting alone in a row of theater seats, and bearing a likeness to photos of Mark Twain. Signed by Vonnegut, with Krementz's stamp on verso. Fine.