Catalog 151, K-L

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119. KELLER, Helen. Typed Letter Signed. September 22 [1902]. Written to Mr. [William V.] Alexander, editor of Ladies Home Journal, who had requested a series of articles from Keller that were later published as The Story of My Life. Keller humbly thanks Alexander for payment for the last article; in part: "I only wish I could have made the story of my life more worthy of the generous praise it has received...It has meant a great deal in my life, and in Miss Sullivan's too -- the thought of the happiness that she says my compliance with your request has brought her is sweeter even than the thought of the kindness shown me in the letters that come constantly from old friends long silent and new friends whose words go to the heart..." Two 5" x 8" pages, typed with blue ribbon and signed "Helen Keller." A very early letter by Keller, preceding her first book, with exceptionally good content. Fine.

120. KELLY, M.T. Breath Dances Between Them. (Toronto): Stoddard (1991). A collection of stories by this Canadian writer, this being the simultaneous issue in wrappers. Inscribed by Kelly to another writer in 1993. Fine.

121. KEROUAC, Jack. Signed Check. November 9, 1962. A $1000 check made out to Paul E. Blake [husband of Kerouac's sister Caroline ("Nin")], and deposited to the account of Mr. or Mrs. Paul E. Blake. The check is signed by Kerouac as "John L. Kerouac;" the name and the amount on the check are filled out in another, apparently female, hand, likely that of Caroline. Although we don't know for certain the circumstances behind this particular check, Kerouac, over the course of this year, loaned Paul Blake $5000 for an addition to Blake's house; reportedly the money was used for other purposes, and little of it was ever paid back. Drawn on the account of John L. Kerouac and Gabrielle Kerouac (Kerouac's mother) at College Park National Bank in Orlando, FL. Usual cancellation markings; else fine.

122. KESEY, Ken. Kesey's Garage Sale. (NY): (Viking) (1973). The scarce hardcover issue of this collection of shorter pieces, spanning the years of the Sixties, when Kesey's activities moved far from the strictly literary path he had been on when he wrote his first two novels. Elaborately signed by the author ("Kesey" only) on the front flyleaf in what appears to be black and white acrylic paint, practically sculpted onto the page, and covering most of the sheet. This was the first book Kesey published after Sometimes a Great Notion, almost a decade earlier. According to the author, the pieces were not conceived as a book but instead were drawn from various sources and put together, much as the title suggests, like the items in a garage sale -- thrown out to the reader for inspection, perusal, consideration. Between the publication of the two books, Kesey had led the Merry Pranksters on their famous bus trip, become a counterculture hero and advocate, and been a fugitive from the law, spending time in Mexico as a result of a drug bust. Other contributors to this volume include Allen Ginsberg, Neal Cassady, Ken Babbs and Paul Krassner, among others. Introduction by playwright Arthur Miller. Heavily illustrated with sketches by Kesey, photographs, etc. A fine copy in a near fine dust jacket with a 2" edge tear at the lower rear panel.

123. -. Another copy, this being a review copy of the hardcover issue, with review slip and publisher's promotional sheet laid in. Boldly inscribed by Kesey in red and blue ink, covering most of the front flyleaf. Bowing to front board; near fine in a near fine dust jacket with a couple small edge tears. Uncommon in hardcover and signed, and especially scarce as a review copy.

124. KESEY, Ken. Last Go Round. (n.p.):(n.p.)(1984). Unpublished and unproduced screenplay, predating publication of Kesey's novel of the same title by 10 years. The story is based on a historical character, a black cowboy named George Fletcher who performed at the first Pendleton, Oregon, round up in 1911. Together with a synopsis of the story, 3 pages, and three unpublished chapters introducing the characters, setting and plot action, another 38 pages of text. Two copies of the synposis and introductory chapters are included, one consisting of loose unbound sheets in a folder that Kesey has labeled, the other one hardbound with pictorial front matter including title page and two pieces about the two main characters, with illustrations of them taken from vintage photographs. In addition, three copies of a short bio of Kesey are included, in a file folder labeled by him, with a photocopy of a 28-page handwritten scene that Kesey added to the script. We are told this is the only copy that was made of the original, and we do not know where the original is, or if it still exists. Finally, there are over 200 color negatives of photos taken during various promotional events for the film, including many of Kesey and several of the musician Taj Mahal dressed up as George Fletcher; in one set of photos Taj Mahal is playing guitar and Kesey is on harmonica. The project never found the backers needed for production, and it ended up in a lawsuit that is still ongoing. These materials all come from one of the original promoters of the film, who was trying to find funding for it, and who worked closely with Kesey during this period in an attempt to get the project off the ground. A significant body of original, unpublished material by Kesey. The screenplay is on three hole-punched paper bound with two brads. We have seen a copy of the screenplay once before, but never the synopsis, the three chapters, the bio, the negatives, nor the additional handwritten scene.

125. KESEY, Ken. Little Tricker the Squirrel Meets Big Double the Bear. (NY): Viking (1990). A children's story, published in a somewhat different form in Demon Box. Signed by Kesey. Handsomely illustrated with watercolors by noted artist Barry Moser. An ALA Notable Book of the Year. Fine in a fine dust jacket.

126. (KESEY, Ken). Promotional Material for "Sometimes a Great Notion," the Film. (n.p.): Universal Pictures and Newman-Foreman Company, 1971. Ten page press kit showing the alternative graphics and layouts for the advertising for the movie based on Kesey's novel Sometimes a Great Notion. The film was directed by Paul Newman and starred Newman, Henry Fonda and Lee Remick; it was nominated for two Academy Awards, and many consider it one of the last great performances of Fonda's career. 8 1/4" x 13 1/4". In the U.K., and in some later releases in the U.S., the film was titled "Never Give an Inch." This advertising pertains to the film's original release, with its original title. Stapled wrappers; fine.

127. KING, Stephen. Cujo. NY: Viking (1981). An early King novel, one of his first to be a bestseller immediately upon publication. The novel just prior to this one, Firestarter (1980), was King's first book to have a six-figure first printing. Later books would have initial print runs in the millions. Inscribed by King in the month after publication: "For ___/ Bow-wow! And best wishes." Fine in a near fine dust jacket with a long scratch and a short snag on the rear panel.

128. KOSINSKI, Jerzy. The Painted Bird. Boston: Houghton Mifflin, 1965. Ringbound galleys of Kosinski's highly praised first novel, a powerful tale of a young Polish boy trapped during German occupation in World War II. Publisher's specs written in hand on copyright page; publisher's summary page with author bio tipped inside the front cover: this sheet closely parallels the dust jacket copy. No apparent textual differences between the galleys and the published book except that the extraneous line that appears on page 270 of the first issue of the book does not appear in the galleys. A bit of rubbing, handling and creasing to the covers but a solidly very good copy, with a copy of the title page pasted to the front cover. A very scarce proof copy of one of the key books of the 1960s; we have never seen another example of the proof and no copy of it shows up in the auction records, at least as far back as the mid-1970s.

129. KOSINSKI, Jerzy. Passion Play. NY: St. Martin's (1979). The uncorrected proof copy of the seventh novel by the author of The Painted Bird, among others. This book was published just before the scandal broke wherein Kosinski was accused of letting his students or paramours ghost-write his own novels. Fine in tall wrappers.

130. KURZWEIL, Allen. A Case of Curiosities. NY: HBJ (1992). The author's well-received first novel. Inscribed by Kurzweil to another writer, "with thanks and much respect." Fine in a fine dust jacket.

131. LA SALLE, Peter. Strange Sunlight. (Austin): Texas Monthly Press (1984). Inscribed by La Salle to George Garrett, "the noble knight of American fiction today. With respect and thanks for continuing encouragement." Faint edge sunning to boards; else fine in a fine dust jacket with a blurb by Garrett (about La Salle's first book) on the rear flap.

132. LE CARRÉ, John. A Most Wanted Man. (London): Hodder & Stoughton (2008). Le Carré's latest book, a novel of several individuals caught up in the competing agendas of rival spy agencies in the era of 21st century terrorism threats. Signed by the author. Fine in a fine dust jacket.

133. -. Same title, the limited edition. One of 200 numbered copies signed by the author. Fine without dust jacket, in slipcase as issued. Not to be confused with the limited edition produced by Waterstone's in much larger numbers (1000 copies).

134. LEEDOM-ACKERMAN, Joanne. No Marble Angels. (Dallas): Saybrook (1987). Texas author's first work of fiction, a well-received collection of stories. Inscribed by the author to another writer in 1989. A fine copy of the simultaneous issue in wrappers.

135. LESSING, Doris. This Was the Old Chief's Country and The Sun Between Their Feet. London: Michael Joseph (1972/1973). The two-volume set collectively issued as Collected African Stories. Volume One consists of all the stories from the original collection entitled This Was the Old Chief's Country plus three stories from Five. Volume Two picks up a few additional stories from the collection African Stories and adds perhaps a dozen more. Each volume has a new preface by Lessing. Fine in near fine, price-clipped dust jackets with wrinkling to the lamination. Very attractive copies, and uncommon thus.

136. LEWIS, Sinclair. The Job. NY: Harper & Brothers (1917). The first issue of his third book under his own name and his first attempt, he later said, to write a serious novel. The Job was controversial for its realistic depiction of a woman in the workplace and laid the groundwork for Lewis' great novels of social realism in the 1920s. Offsetting to endpages from jacket flaps and slight wear to board edges; near fine in a price-clipped dust jacket professionally restored to near fine. An extremely scarce book in jacket, and an important title in the Lewis canon.

137. LOPEZ, Barry. Desert Reservation. (n.p.): Copper Canyon Press (1980). His first limited edition, a poem done in an edition of 300 copies in saddle-stitched wrappers and signed by the author. There were 26 lettered copies, also in wrappers, but no hardcover edition of this title. Corner crease to colophon page; else fine.

138. LOPEZ, Barry. "The image I carry of Cortés..." Berkeley: Black Oak/Okeanos Press, 1990. A broadside excerpt from Crossing Open Ground. One of 250 copies. 15" x 11". Fine. An attractive piece, printed to benefit the Earth Island Institute.

139. LOPEZ, Barry. Lessons from the Wolverine. [Athens]: University of Georgia Press [1997]. Broadsheet featuring the cover art for this story, which was attractively illustrated by Tom Pohrt, who also illustrated Lopez's Crow and Weasel. Signed by both Lopez and Pohrt. 12" x 24". Fine.

140. LOPEZ, Barry. "The Letters of Heaven." (n.p.): Knopf, 2000. A single story, excerpted from the then-forthcoming Light Action in the Caribbean. One of supposedly 1000 copies signed by the author. Fine in stapled wrappers. This title was published as a hardcover limited edition by Knight Library Press.

141. LOWELL, Robert. Land of Unlikeness. (Cummington): Cummington Press, 1944. The first book by the Pulitzer Prize and National Book Award-winning author, published in a limited edition by Harry Duncan at the Cummington Press. This is one of 224 copies of a total edition of 250. Inscribed by the author to Anne Sweeney, the daughter of James Johnson Sweeney, longtime curator of the Museum of Modern Art. Spine and cover edges a little faded, tips of boards worn, some internal foxing up to the title page. Overall about very good, lacking the plain tissue dust jacket. A nice association copy of an uncommon first book.

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