Catalog 156, N-R
117. (Native American). GLANCY, Diane. Drystalks of the Moon. (Tulsa): (Hadassah Press)(1981). An early book by this author of Cherokee descent, a collection of poetry and prose fragments. Published by a small press that apparently was her own: the address for Hadassah Press is the same as that of MyrtleWood Press. In addition, the title What Do People Do West of the Mississippi? is listed as another title by Hadassah Press, although it wasn't published until the following year, by MyrtleWood Press. Gift inscription, but one worth quoting: "This book opened a new door in perception of life and values along with the experimental forms of verse..." Edge tear lower spine, front cover creased and with a small abrasion, staining to rear cover and edges of text block; inner text beautifully intact, but still only good in wrappers. Glancy's early bibliography is unclear, but this is a very early title and a scarce one: this is the only the second copy we've seen.
118. (Native American). GLANCY, Diane. What Do People Do West of the Mississippi? (Tulsa): (MyrtleWood Press)(1982). An early volume of poetry**published by her own small press, the MyrtleWood Press. Inscribed by the author: "To ______ with admiration/ Diane." Glancy lived in Tulsa, Oklahoma, before applying to the Iowa Writers Workshop, where she earned her M.F.A. in 1988. She has won numerous awards for her writing and has produced a large and wide-ranging body of work, from poetry and fiction to essays. She teaches Native American literature and creative writing at Macalester College in Minnesota. Three very small spots (one each to rear cover, inside front cover, flyleaf). Very near fine in wrappers. Scarce.
119. (Native American). HARJO, Joy. What Moon Drove Me to This? NY: I. Reed Books (1979). Her scarce second book, a collection of poems. Inscribed by the author to another Native American writer: "...Keep speaking the truths you see in beauty," and signed "Joy." Fine in wrappers, with a cover illustration by Harjo. With the recipient's signature above the inscription. An excellent association copy between two important Native American authors.
120. (Native American). HARJO, Joy. She Had Some Horses. NY/Chicago: Thunder's Mouth Press (1983). The very uncommon hardcover issue of the third book by this Creek author. Signed by the author on the title page, with a typed postcard signed to Clark Kimball of the Rydal Press laid in. Fine in a near fine, price-clipped dust jacket. Although the softcover issue of this title has had many printings, the hardcover had only one very small printing, in 1983.
121. (Native American). KENNY, Maurice. With Love to Lesbia and Rivers. NY: Aardvark Press (1958). A very early "sheaf of poems" by this Mohawk poet, apparently his third collection. Droplet on first page and a thin strip of faint staining to the edges of the rear cover; very near fine in stapled wrappers. Together with a copy of Rivers [NY: Strawberry Press, 1979], a pamphlet printing two poems: one from With Love to Lesbia: "By the Hudson at Night," which appears here with varying capitalization, and "In the Flow," which was apparently not collected until it appeared in Carving Hawk in 2002. One blue sheet folded once. Corner crease; near fine. Kenny studied with Louise Bogan at NYU and is an important poet for his connection to both the New York City poetry scene of the 1950s and ‘60s, including the gay poetry scene, and his status as a Native American poet during the renaissance in Native American literature that got underway in the 1960s and ‘70s. For both pieces:
122. (Native American). LEAST HEAT-MOON, William and BOYER, Winston Swift. Rediscover American Roads. (Boston): Bulfinch/Little Brown (1989)[1992]. Photographs by Boyer, with an introduction by Least Heat-Moon. This is a first edition of the 1989 book American Roads, which was apparently re-jacketed in 1992 as Rediscover American Roads, to coincide with the quincentennial of Columbus' arrival and as such offered as a giveaway volume by the Chrysler Corporation ("Compliments of Chrysler Corporation" printed on the front panel of the jacket). This copy is signed "Heat Moon." Fine in a very near fine dust jacket with a lamination crease on the rear panel. Beautiful photographs, and an unusual, interesting issue of the book.
123. (Native American). LITTLEHEART, Oleta. The Lure of the Indian Country and A Romance of Its Great Resort. Sulphur: Abbott, 1908 [1909]. A collection of tales that appears to be an autobiographical novel written by a Chickasaw woman, but is, according to Marable and Boylan's A Handbook of Oklahoma Writers [Norman: University of Oklahoma Press, 1939], authored by Aaron Abbott. This copy is inscribed by the author in the year of publication: "Presented to/ Miss Addie G. Clifton/ by her Chickasaw cousin,/ Oleta Littleheart/ Sulphur, Ok.,/ June 17, 1909." Rear cover missing with a substitute cover attached by tape; front cover chipped and literally stitched back together (apparently using a sewing machine); spine wrapper chipped at both extremities; scattered foxing to text; only a fair copy of the issue in the lighter beige-tan wrappers, but the only signed copy we've seen, and one that raises the question as to whether Aaron Abbott, who is listed as the publisher of this volume, was in fact also the writer, or a ghost writer, and whether a person named Oleta Littleheart actually existed and actually wrote these tales or some portion of them.
124. (Native American). McLUHAN, T.C. Touch the Earth. NY: Outerbridge and Dienstfrey (1971). The first American edition, published simultaneously with the Canadian edition (and preceding the Promontory Press edition which is commonly mistaken for a first). A "self-portrait of Indian existence," using quotes from numerous historical Indian figures to illuminate the abiding values of a Native American perspective on life and, in particular, the natural world. The author is the daughter of the late Marshall McLuhan (of "The medium is the message" fame). This was her first book, and it was popular throughout the early Seventies and became a contemporary classic and a bestseller, going into numerous printings and editions. Inscribed by the author in the year of publication: "To Joe, with many thanks for helping me present this book to others. Teri." Slight corner taps; very near fine in a very good, price-clipped dust jacket with a closed tear at the upper front spine fold.
125. (Native American). NAAHAABII, K'os. (JORDAN, Don). The Bitter Roots of Peace. Roseville: Blue Oak Press, 1972. An expanded edition of the first book by this poet of Chippewa-Iroquois and Choctaw-Cherokee descent, which was first published in 1970, also by Blue Oak Press. The poems were written after the author had a near-death experience when his automobile plunged off a thousand-foot cliff and his back was broken. A Korean War veteran who had only a seventh grade education to that point, Jordan's revelation resulted in his going back to school, earning a degree and eventually becoming a faculty member at a small college. Printed on multi-colored paper, this is a fine, hardbound copy in red and black faux leather with gilt titling and without dust jacket, as issued. Possibly the author's copy, as his name and address are written on a rear blank, and the edition was apparently issued only in wrappers. Blue Oak Press was started and run by the poet and teacher Bill Hotchkiss, a longtime friend of William Everson, whom he also published, and an advocate of American Indian writing, among other things.
126. (Native American). NIATUM, Duane as McGINNIS, Duane. After the Death of an Elder Klallam. Phoenix: Baleen (1970). His first book, a collection of poems, and the only one of his books to be published under his given name, McGinnis. Niatum edited two of the most important anthologies of Native American poetry, and he has published numerous books in the years since this one. This copy is inscribed by the author to a professor in May, 1970 and signed as "Duane McGinnis." Fading to spine and a light corner bump; near fine in wrappers. There was also a small hardcover issue. Illustrations by Navajo artist Mary Morez. Scarce, especially with a contemporary inscription.
127. (Native American). ORTIZ, Simon J. A Good Journey. Berkeley: Turtle Island, 1977. Poems, with artwork by Native American artist Aaron Yava. This is the scarce hardcover issue, one of 100; although not called for, this copy is signed by the author. Fine, without dust jacket, as issued. An attractive edition, designed by Graham Mackintosh and printed by Mackintosh and Noel Young, who were largely responsible for the books of Black Sparrow Press and Capra Press. Uncommon.
128. (Native American). ORTIZ, Simon J. From Sand Creek. Oak Park: Thunder's Mouth Press (1981). The scarce hardcover issue of this powerful collection of poems, which many consider his best book to date and which one prominent poet and critic was quoted as saying should have won the Pulitzer Prize if the judges had had any courage. The title alludes to an infamous massacre of unarmed Cheyenne and Arapaho men, women and children in 1864, and the poems address moral, spiritual, and political issues**in particular, the process of victimization and the possibility of finding some kind of redemption**with urgency, clarity and poetic grace. Signed by the author. Fine in a mildly rubbed, near fine dust jacket.
129. (Native American). PLYMELL, Charles. Was Poe Afraid? (Arlington): Bogg Publications, 1989. Poetry by this poet/collagist who was associated with the San Francisco Beat poetry scene and the hippie counterculture that emerged from it in the 1960s. Plymell was the publisher of the first issue of Zap! comix, the underground comic that introduced R. Crumb and S. Clay Wilson to the counterculture, and according to Allen Ginsberg he was the inspiration for the "Wichita Vortex Sutra." An autobiographical piece Plymell wrote indicated that his great grandmother walked the Trail of Tears, and his grandmother moved on to the Cherokee Strip. This is the limited edition, one of 10 numbered copies created by means of a stamp on the title page. This is Copy Number 1. Signed by the author. Fine in stapled wrappers. Scarce.
130. (Native American). RIDGE, John Rollin. Poems. San Francisco: Henry Payot, 1868. Posthumous collection of poems by Ridge ("Yellow Bird"), an important Cherokee author who wrote the first novel by an American Indian writer, The Life and Adventures of Joaquin Murieta (San Francisco, 1854, two copies known). Ridge's father was assassinated in 1839 for having signed the Cherokee removal treaty, and Ridge himself remained at the center of the controversy over that treaty, which divided the Cherokee nation. In 1849, after killing another Cherokee, Ridge fled to Missouri and then to California, where he lived until he died in 1867, a year before this book was published. During that time, he wrote for newspapers and magazines and wrote these poems, collected after his death. This copy is in original cloth, stamped in gilt, with a photographic frontispiece with tissue guard, a portrait of the author, and quite an early example of photography in a published volume, as well as being an early California imprint. Small owner's gift inscription in pencil dated 1868 on the front endpaper; foxing on the page with the tipped in photographic frontispiece; the photo itself is slightly faded. Still, near fine, and by a considerable margin the nicest copy we have seen of this important title.
131. (Native American). RUSSELL, Norman H. Russell, the Man, the Teacher, the Indian. Bigfork: Northwoods Press (1974). The collector's edition of this early book of poetry by a writer of Cherokee heritage. One of 100 numbered copies signed and numbered by the author on the title page. Colophon previously tipped to front flyleaf (here detached and laid in) bears the recipient's name, Maxine Cushing Gray, who is listed at the rear of the book as one of the patrons who made the publication possible. Together with a typed letter signed from Russell to Gray, who published the Northwest Indian News Poetry Page. Also included is the typescript of Russell's poem "One Great Flowing," apparently submitted to Northwest Indian News in June, 1975. A scarce edition; we have never seen this limited issue before. Glue residue on flyleaf from colophon; loss of gilt to title; near fine, without dust jacket, apparently as issued.
132. (Native American). SEALS, David. The Powwow Highway. (Denver): (Sky Books)(1983). A contemporary American Indian "road novel," written by a former member of AIM, the American Indian Movement, and the basis for the ground-breaking and award-winning film. Poet-artist John Trudell, another former AIM member, has a role in the film and Wes Studi and Graham Greene, both now successful and well-known American Indian actors, had small roles in it; for Studi it was his film debut. After the success of the film, the title was brought out by a mainstream publisher more than a decade later; this, the true first edition, is virtually unobtainable. Moderate general creasing, rubbing and light staining to covers: a read, very good copy in wrappers. With an anti-blurb by Kurt Vonnegut: "I've never...read this book. I don't...know this writer. You...can't use my name." Seals wrote a comic sequel to the novel, Sweet Medicine, in which the characters complain about how they were portrayed in the film, and opt not to see it when they have the chance.
133. (Native American). STRETE, Craig Kee. Paint Your Face on a Drowning in the River. NY: Greenwillow (1978). His second book published in this country, a story for young adults about a group of young Native Americans, one of whom is drafted to Vietnam. This book was adapted as a play and performed by a touring Native American theater troupe. Inscribed by the author: "To the best looking librarian I've ever met/ Craig Kee Strete." A series of tiny indentations on rear board; near fine in a very good dust jacket with the same tiny dents on the rear panel and with a few modest edge tears. Scarce signed.
134. (Native American). STRETE, Craig. Typed Letter Signed, with If All Else Fails... Garden City: Doubleday, 1980. A full-page letter from Strete to another writer, in part transmitting a copy of his book If All Else Fails (included here). In the letter, Strete laments the science fiction classification the book received, touches on recent kidney troubles that landed him in the hospital, recommends his recipient connect with Jamake Highwater, and expresses displeasure with Doubleday and their offer for Death in the Spirit House (although Doubleday did eventually publish that novel). The bulk of the letter, however, concerns Strete's attempt to enlist the recipient in (while simultaneously warning him about) a suggested trip north for a vision quest "guided by a shaman who is left sided as I am. I know for certain though that I myself could take you to a place where you could see Saquatch and a few other things you have not seen, not even in dreams. It would be dangerous for us both. I was up there this summer and saw the one who has no name... I hate going up there. It takes me years to get over the nightmares. There are things in this world that are truly evil." Strete says that he has been working for seven years on a book about his experiences with shamans that he hopes will be published after he's dead. The letter is on personal stationery, signed by Strete, and is folded in half to fit into the book; near fine. The book, If All Else Fails..., is fine in a near fine dust jacket with a lower edge tear at the front flap fold. Introduction by Jorge Luis Borges, who calls the book "a collection of small nightmares of great consequence."
135. (Native American Periodical). Innerspace. NY: Underground Press Syndicate [c. 1967]. The American Indian Issue of this "Magazine of the Psychedelic Community." A large part of the magazine is devoted to an interview with Bob Burnette of the Rosebud Sioux Tribal Council, and the potential connections between American Indians and the "psychedelic community." Chief Lame Deer attended the interview, but his "songs and soft chortlings are not translatable in so limited a medium as a magazine." Light dampstaining to top margin; very good in stapled wrappers. An interesting look at an unusual, optimistic moment in cultural and race relations in America.
136. NIN, Anais. Solar Barque. (n.p.): Edwards Brothers, 1958. Solar Barque (being the original name of Seduction of the Minotaur) is the fifth volume in a sequence of novels published by Nin over 10 years, which were gathered together into one volume the following year and published as Cities of the Interior by Alan Swallow, her first regular American publisher. Nin had been writing since the 1930s, when she was in Paris with Henry and June Miller, among others, but she was a little-known literary figure until the 1960s. The nascent women's movement turned her into a retrospective feminist icon**free-spirited and sexually liberated**as well as a writer with a distinctly feminine perspective. This copy is inscribed by Nin, "For Norman Mailer and Mrs. Mailer and is signed in full. Slight spine lean and spine sunned, with a bit of rubbing to the fold; near fine in wrappers, in a custom folding chemise and slipcase. A nice association: Mailer was already a literary lion by the late '50s, but he was still young enough and enough of a rebel to be associated with the underground and fringe writers, and to help give credibility to them, as he did a number of times during those years**helping bring into print for the first time in America works by Henry Miller, William Burroughs, and D.H. Lawrence (the subject of Nin's first book) that had previously been banned.
137. NIN, Anais. The Diary of Anais Nin, Vol. V: 1947-1955. NY: HBJ (1974). Inscribed by the author to the lover of her editor at that time: "For Johan, most 'sympatico,' and having shared the pains of uprooting/ warmest friendship/ Anais." Fine in a near fine dust jacket with a slight crease to the front flap and a tiny nick to the spine crown. A nice personal inscription.
138. OATES, Joyce Carol. By the North Gate. NY: Vanguard (1963). Her first book, a collection of stories. Oates is one of the preeminent American writers of the last 50 years**winner of the National Book Award, three time finalist for the Pulitzer Prize, and one who has been rumored to be on the Nobel Prize "shortlist" for most of the last two decades. A prolific writer, she has written over fifty novels and dozens of volumes of short stories, poetry, and essays. This is a fine copy in a fine dust jacket with just the barest of wear at the spine crown, but none of the fading to the spine that is typical of this title. Signed by the author on the half title page. A beautiful copy of an important first book, uncommon in this condition, especially signed.
139. OATES, Joyce Carol. them. NY: Vanguard (1969). Her fourth book and breakthrough novel, published in a small print run at a time when the publisher had seemingly given up on the author as a commercially successful proposition. Signed by the author on the front flyleaf. Fine in a fine dust jacket with just a touch of rubbing. As nice a copy of this National Book Award-winning novel as we have seen.
140. O'BRIEN, Tim. If I Die in a Combat Zone. (NY): Delacorte (1973). His first book, a highly praised memoir of the Vietnam war in which O'Brien uses some of the techniques of fiction to convey the experience of Vietnam from the grunt's perspective with immediacy and power. In later years an edition of Combat Zone carried a blurb (excerpted from Esquire) by Geoffrey Wolff, to whom this copy belonged. With Priscilla Wolff's ownership signature, and Geoffrey Wolff's marginal markings and perhaps a dozen comments. Foxing to spine cloth and edges of text block; near fine, lacking the dust jacket.
141. O'BRIEN, Tim. Going After Cacciato. (NY): Delacorte (1978). His third book, a magical realist novel about an American soldier in Vietnam who decides to walk away from the war and go to Paris overland. Winner of the National Book Award. With marginal notes by Geoffrey Wolff, to whom this copy belonged. Many of the notes indicate where passages remind Wolff of other books, authors or characters, e.g. "Combat Zone," "Yossarian," and, once, "Toni Morrison." Wolff has also listed (p. 32), grades on the book based on its review by other authors and in other periodicals. Mottled cloth; very good in a very good, lightly edgeworn dust jacket.
142. O'BRIEN, Tim. The Nuclear Age. Portland: Press-22 (1981). One of 26 lettered copies, the entire hardcover edition, signed by the author. An excerpt from O'Brien's work-in-progress at the time, printing the poem "The Balance of Power," which appears, much changed, in Chapter 4 of the finished novel. Fine in a fine dust jacket.
143. -. Same title, the wrappered edition. One of 125 numbered copies signed by the author. Additionally inscribed by O'Brien, "Peace on Earth," in 1994. Fine in saddle-stitched self-wrappers.
144. OLSEN, Tillie. Tell Me a Riddle. Philadelphia: Lippincott, 1961. Her first book, a highly praised collection of stories that later came to be one of the key works in the renaissance of women's writing that accompanied the feminist movement in the late 1960s and 1970s. This is the scarce hardcover issue, reportedly done in an edition of about 300 copies. Inscribed by the author to noted bookseller Burt Britton: "For Burt - 'These Things Shall Be' (page 150)/ Tillie Olsen/ San Francisco/ February, 1976." Olsen has crossed out the last name in the inscription, which is on the front pastedown, but has written Britton's full name under the front flap. She has also signed the title page and added "Fourteen years after - no, fifteen." Spine cloth slightly sunned and a small push to crown; near fine in a near fine dust jacket with mild rubbing and sunning to spine. The date, likely of intended publication, erased from front cover, with an earlier date written on the front flap, in unknown hand. Books inscribed by Olsen**whose handwriting is so tiny as to be almost unreadable**are uncommon. At least two of the four stories in this collection were later made into films. In custom clamshell case.
145. PALEY, Grace. Enormous Changes at the Last Minute. NY: FSG (1973). The second collection of stories by one of the most highly acclaimed contemporary masters of the short story. Nominated for the National Book Award. Inscribed by the author to a well-known magazine columnist. Small nick upper board edge; else fine in a near fine, mildly rubbed, mildly spine-faded dust jacket with a tiny edge tear corresponding to the board nick.
146. PIRSIG, Robert M. Zen and the Art of Motorcycle Maintenance. NY: Morrow, 1974. Pirsig's first book, an acclaimed and bestselling inquiry into values and examination of Quality, and a title that is difficult to find in nice condition owing to its "perfectbound" construction, small first printing (its bestsellerdom took both the author and the publisher completely by surprise), and the fact that most copies that turn up are well-read. This copy belonged to the writer Geoffrey Wolff and bears his comments and marginal markings throughout. Cocked, with sag to text block, as is frequently the case with this book; some mottling to cloth and foxing to top edge; very good in a near fine dust jacket.
147. PLATH, Sylvia. Portrait. A 19" x 25" portrait by Plath of her high school classmate and friend Arden Tapley, executed in pastels. Undated, but probably from 1950, the year both of them graduated from Wellesley High School. Arden is wearing her hair in the same style as her graduation photograph and may be wearing the same shirt. Plath's mastery of the craft of portraiture is limited: her anatomy is far from perfect, but her intent to capture the essence of her subject is boldly realized not only in the outer depiction of her hairstyle and nondescript clothing, but more importantly in the intensity of the gaze captured by the artist. The portrait would be remarkable if it contained only her eyes, which look askance with a combination of intensity and vulnerability that seems to perfectly embody the artist herself, perhaps as much as her friend. Arden Tapley's daughter recalled that her mother often spoke of her high school friendship with Sylvia, and that both were rather "shy, sensitive girls who naturally gravitated toward each other." She said that when she first saw the image she immediately recognized it as her mother, and in that sense Plath did capture an essence of her young friend. We have never seen such an artwork by Plath offered on the market; her sketch of Ted Hughes that was done seven years later and recently sold for $49,000 was a considerably less "finished" work, albeit one that showed a more mature command of style and representation. All of Plath's significant works have long been institutionalized. Once creased near the lower edge, apparently to display the image without showing the hands; small red stamp lower left corner; else fine. Matted and framed to 23-1/4" x 30". A powerful image of a close friend by the noted writer while she was still a high school student.
148. PODHORETZ, Norman. Making It. NY: Random House (1967). The second book by the noted conservative commentator. This copy belonged to the writer Geoffrey Wolff and bears his underlinings and marginal comments throughout, as well as two full pages of notes on the front endpapers. Presumably Wolff reviewed the book; he has reviewed more than 400 books over the years, and typically marks the book as he reads it, in preparation for writing. We don't know where this review appeared, however. Cloth mottled; near fine in a near fine dust jacket with fading to the title lettering on the spine.
149. PYNCHON, Thomas. Slow Learner. London: Cape (1985). The first British edition of this collection of Pynchon's early stories, issued in part to preempt the proliferating piracies. This copy is inscribed by the author: "For ___ ___ - thanks for staying in the racket - good choice. Best, Thomas Pynchon." The recipient was the longtime editor of a literary magazine and also longtime director of a writers' workshop. Once a year he would send a copy of his literary journal to an author, along with a copy of a book he would ask to be signed. He said that it was his way of finding out if his work on the magazine still mattered at all. He didn't really expect Pynchon to respond, but tried anyway, and Pynchon not only signed the book but inscribed it warmly: the "racket" that he refers to is the literary racket and Pynchon**always a supporter of young writers and an advocate for literature**expresses his gratitude. A nice inscription, revealing not only Pynchon's generosity but acknowledging the recipient's longtime "labor of love" and showing Pynchon as a supporter of such literary efforts. Needless to say, Pynchon signatures are extremely scarce, and revealing inscriptions such as this even more so. Fine in a fine dust jacket. The volume includes a 20-page introduction by Pynchon about these early stories and the writer he was when he wrote them.
150. ROBBINS, Tom. Half Asleep in Frog Pajamas. NY: Bantam (1994). Inscribed by the author: "To ___ & ___, Bad Taste! Tom Robbins." With a tracing by the author of his own left hand with wavy lines rising out of each of his fingertips and the comment, "Wooga Wooga!" Mild spine slant, else fine in a very near fine dust jacket with a hint of edge sunning. One of the most expressive inscriptions we have seen by this writer who is known for his expressive inscriptions, like his extravagant writing.
151. ROBINSON, Marilynne. Publisher's File. NY: FSG, 1980. Three letters sent by the publisher to accompany bound galleys of Housekeeping (not included here), eloquently pitching the novel (two are form letters; a shorter one is original). Together with a photocopy of Robinson's 6-page handwritten response to her first fan letter and a photocopy of a 5-page proposal that Robinson made to Farrar Straus Giroux for an as yet unwritten book by a French peasant who had captured her imagination. (Their response, also included in photocopy, suggests they would be happier if Robinson wrote a novel with her friend as a character.) Again, all the material by Robinson here is photocopy, but the content shows some of the interchange between Robinson and her publisher, and between her and a fan, from the time her first novel was being readied for publication. All elements near fine or better.
152. ROBINSON, Marilynne. Housekeeping. NY: FSG (1980). A review copy of her first book and her only novel until Gilead, which won the 2005 Pulitzer Prize. Housekeeping won the Ernest Hemingway Foundation Award, a Richard and Hinda Rosenthal Award, and was the basis for a well-received movie; it was also named one of the best works of American fiction in a 25-year period in a survey by The New York Times Book Review. This copy is inscribed by Robinson to novelist Sanford Friedman: "For Sanford Friedman, with warmest thanks ** Marilynne Robinson." Friedman was one of three judges (with Doris Grumbach and Marguerite Young) who voted to award Robinson the Ernest Hemingway Foundation Award, citing that "Housekeeping is a terrible, beautiful, and moving novel about generations of women and children and their eccentric efforts to keep houses, homes, relationships, told with extraordinary skill and uncanny power." This copy was apparently sent to Friedman (unsigned) as a review copy prior to the Award. Friedman's notes are written on the laid in press release, and give little indication that Robinson will win: "Alas, Chapter 9 is contrived and an unnecessary doff to conventionality, and Chapter 10 is an unnecessary exegesis of the whole novel which should be left unexplicated. This book has nothing to do with foster care and hearings and foster homes and judges etc. Suddenly plot. Ugh." Either Friedman really liked Chapters 1-8 and 11, or Grumbach and Young swayed the vote. One can be persuaded of the former, as Friedman likely presented this copy of the book to Robinson for inscription after the presentation of the Award, hence her thanks. The book has the typical edge sunning to the boards; near fine in a very near fine dust jacket. With press release (bearing Friedman's comments) laid in. An interesting and revealing copy of an important first novel.
153. -. Same title, the first printing of the 25th anniversary edition. NY: FSG (2005). Issued on the 25th anniversary of the publication of the first edition, and the year after Robinson won the Pulitzer Prize for her second novel, Gilead. Signed by the author. Fine in a fine dust jacket. The jacket uses the same cover art as the original edition, although it is printed in richer hues. Two of the three original jacket blurbs (by John Hawkes and Walker Percy) remain, but the blurb by Doris Lessing has been replaced by one by Carolyn Banks and one by Anatole Broyard; the flap copy has also been updated.
154. (ROBINSON, Marilynne). FORSYTH, Bill. Housekeeping. (n.p.): (n.p.), 1985. The second draft (June, 1985) of Forsyth's screenplay of Robinson's novel. The film, released in late 1987 and starring Christine Lahti, won Forsyth the Best Screenplay Award at the Tokyo International Film Festival. Subtle changes to the ending between this draft and the filmed version. Claspbound in acetate covers, with a tear to the title page and some staining to the back of the final page. A description of the town of Fingerbone is taped to the second page; brief notes on characters' emotional states in red pen on page 7, in an unknown hand (or hands). A very good, working copy of the script of this well-received film. Scarce.
155. ROBINSON, Marilynne. Mother Country. NY: FSG (1989). Her second book and first book of nonfiction, about the nuclear industry in Great Britain. Inscribed by the author to the owner of a book store in Northampton, MA, where Robinson was living when she wrote both this book and her first novel, Housekeeping. Northampton was also home to the church of the preacher Jonathan Edwards, whose theology Robinson engages in her Pulitzer Prize winning novel Gilead. Foxing to foredge; near fine in a fine dust jacket.