Catalog 163, U
209. UPDIKE, John. The Carpentered Hen. NY: Harper & Brothers (1958). His first book, a collection of poems, published in an edition of 2000 copies. Inscribed by the author in 1990: "For ___ ___/ warm regards to a sweet collector/ John Updike." The recipient was a neighbor of Updike, in addition to being a collector of his books. Trace foxing to edge of text block, else fine in a fine, price-clipped, first issue dust jacket, which ends with "two children" on the rear flap. A beautiful copy of a book that is known for its binding coming loose. With a custom three quarter leather clamshell case from the Praxis Bindery.
210. UPDIKE, John. The Poorhouse Fair. NY: Knopf, 1959. Updike's second book and first novel, nominated for the National Book Award and winner of the Richard and Hinda Rosenthal Foundation Award of the American Academy and Institute of Arts and Letters, for a novel which, despite not being a commercial success, was nonetheless "a considerable literary achievement." Signed by the author. With the bookplate of diplomat and ambassador John Moors Cabot on the front flyleaf: Cabot lived on Cape Ann, one town over from Updike. Fine in a near fine dust jacket, with a bit of rubbing to the front panel and a closed but crooked tear to the lower rear panel. In a custom three quarter leather clamshell case from the Praxis Bindery.
211. UPDIKE, John. Rabbit, Run. NY: Knopf, 1960. His second novel, which introduced Rabbit Angstrom and began the award-winning sequence of novels that stands as Updike's major work. Warmly inscribed by Updike in 1981: "For ___ ___/ my nearest collector and one of the fiercest/ Thanks for caring, John Updike." The recipient was a close neighbor of Updike, and a longtime collector. A fine copy in a near fine dust jacket with several closed edge tears, including one at each of the four corners of the spine. A nice inscription by Updike, who recognized the passion and intensity the recipient brought to collecting his works. In a custom three quarter leather clamshell case from the Praxis Bindery.
212. UPDIKE, John. The Centaur. NY: Knopf, 1963. His sixth book, third novel, and first National Book Award winner. Inscribed by the author on the title page with "warm regards." Light foxing to foredge; near fine in a very good dust jacket with modest rubbing and edge wear. A nice copy of a book that, because of its unlaminated, largely black dust jacket, shows wear readily.
213. UPDIKE, John. The Angels. Pensacola: King & Queen, 1968. One of Updike's earliest and scarcest limited editions, a poetic paean to authors, artists and musicians who came before: "...sing us to sleep, awaken our eyes, comfort with terror our mortal afternoons." One of 150 unnumbered copies; issued unsigned, this copy is inscribed by the author: "for ___ ___/ here at the St. John's Fair 7/1/0/93/ John Updike." Mild edge sunning near the spine; near fine in string-tied wrappers.
214. UPDIKE, John. On Meeting Authors. Newburyport: Wickford Press, 1968. A limited edition of a humorous essay on encounters with (other) famous authors, which first appeared in the New York Times. Number 56 of 250 numbered copies. Issued unsigned, this copy is inscribed by the author in 1997: For ___ ___ and her fabulous collection/ Cheers, John Updike." One of Updike's earliest limited editions, done the same year as Bath After Sailing and The Angels. Although the limitation of this title is larger than either of those, we have encountered it just as infrequently. Faint sunning at the edge of the spine, else fine.
215. UPDIKE, John. The Dance of the Solids. [NY]: (Scientific American)(1969). The first separate edition of this physics-themed poem. One of 6200 copies printed as Christmas cards to be issued with W.H. Auden's A New Year Greeting (not present). 24 pages, illustrated. Fine in stapled wrappers. Lacking the cardboard sleeve that combined the two booklets, but in a custom three quarter leather clamshell case from the Praxis Bindery. This copy is inscribed by the author: "For ___/ Merry Christmas 1995/ John Updike [with a drawing of holly leaves and berries]." While the print run of this item was not particularly small, especially when compared with the many limited editions Updike has done, the nature of its distribution as a freebie to Scientific American subscribers suggests that most copies would have been lost or discarded.
216. UPDIKE, John. Rabbit Redux. NY: Knopf, 1971. The second book in his highly praised Rabbit Angstrom series. Nominated for the National Book Award. Inscribed by the author in 1996: "For ___/ that leggy sister/ Best wishes, John Updike." Fine in a fine dust jacket.
217. UPDIKE, John. Flirt. [Pittsburgh: International Poetry Forum, 1975]. A broadside poem, measuring approximately 9" x 12", reproducing the author's holograph and his signature. Approximately 500 copies printed for distribution at a reading, using paper of various sizes and colors. This copy is 8 3/4" x 11 3/4", light brown, and as such not noted in the De Bellis/Broomfield bibliography. Additionally, this copy is actually signed by Updike, below the facsimile signature, and dated 7/13/91. Tiny spots of foxing, near fine; now framed to 12 1/2" x 15 1/2". Much scarcer than its estimated print run would suggest, and extremely scarce signed. That this variant eluded the bibliographers, who were almost unbelievably thorough in tracking down the multitude of issues of Updike's enormous body of work, also suggests extreme scarcity.
218. UPDIKE, John. Hub Fans Bid Kid Adieu. Northridge: Lord John, 1977. The first separate appearance of this baseball essay, originally published in 1960, Ted Williams' last year. One of Updike's most famous pieces of writing, at least to New Englanders and/or Boston Red Sox fans. Ted Williams was nicknamed "the Kid" and Updike's essay immortalized him as such for generations too young to have witnessed him firsthand. Copy number 39 of 300 numbered copies, signed by Updike and with a new preface by him for this edition. Light foredge foxing, else fine without dust jacket, as issued. More uncommon than its limitation would suggest, perhaps because its subject matter has made it attractive to more than just Updike collectors.
219. UPDIKE, John. The Visions of Mackenzie King. [Northridge]: [Herb Yellin][1979]. A broadside: the first separate appearance of this poem that was first published in The New Republic magazine, and then issued as a broadside insert laid into issue 12 of The John Updike Newsletter. The De Bellis/Broomfield bibliography lists the dimensions as 8 1/2" x 11"; this copy is beautifully matted and framed to 12 3/4" x 18 1/2". Although not called for, this copy is signed by Updike. Fine.
220. UPDIKE, John. An Oddly Lovely Day Alone. Richmond: Waves Press, 1979. A broadside poem, issued in an edition of 276 copies (plus, apparently, a fair number of "proof copies." This is copy number 69. Signed by the author. 6 3/4" x 17 1/2", matted and framed to 11" x 22". Fine. Not an exceptionally scarce Updike broadside, but a beautifully mounted example.
221. UPDIKE, John. Iowa. Portland: Press-22, 1980. An attractively printed and illustrated broadside poem. Copy number 14 of 200 numbered copies signed by the author. A couple of shallow creases; near fine. The bibliography lists the dimensions as 22 3/8" x 15"; this copy is matted and framed to 25" x 20".
222. UPDIKE, John. Rabbit is Rich. NY: Knopf, 1981. His third Rabbit Angstrom book, winner of both the National Book Award and the Pulitzer Prize, a rare literary "double" which cemented the Rabbit series as a masterwork of Updike's career and a major accomplishment in American literature. Inscribed by the author: "For ___ ___/ All good wishes to a man with the ears of a rabbit/ John Updike." Fine in a very near fine dust jacket with just the slightest loss of crispness at the edges.
223. UPDIKE, John. Small City People. [Northridge]: Lord John Press, 1982 [1983]. A Presentation Copy of this broadside. One of fewer than 20 produced (in addition to the 100 numbered copies and presumably 26 lettered copies). According to De Bellis and Broomfield, the broadside measures 14 13/16" x 22 1/16"; this copy is matted and framed to 17 3/4" x 22 1/2". Signed by the illustrator, Don Rico, but not signed by the author, as issued. Fine. Extremely limited and very handsomely mounted.
224. UPDIKE, John. Impressions. Los Angeles: Sylvester & Orphanos, 1985. A limited edition collection of essays on art, with 14 tipped-in color plates of the art Updike discusses. Of a total edition of 330 copies, this is copy number 85 of 300 numbered copies signed by the author. Mild spine sunning and one tiny spot to cover gilt; very near fine in a fine slipcase. One of the more attractive of the Updike limited editions, printed letterpress on Arches paper, and hand bound in gilt-decorated cloth, and housed in a gold slipcase.
225. UPDIKE, John. Two Sonnets. (n.p.): Wind River Press/Northouse & Northouse, 1986 [1988]. One of only seven issued proof copies of this broadside, which is the first separate appearance of "Oxford, Thirty Years After" and of "Somewhere Else," which were each first published in 1986: the copyright date on the broadside was changed to 1988 on the published editions. Signed by the author. Approximately 17" x 13", attractively matted and framed to 21 1/2" X 18". Fine.
226. UPDIKE, John. S. NY: Knopf, 1988. An epistolary novel based on an ashram similar to that operated by the popular guru Rajneesh during the 70's and 80's. Inscribed by Updike to John Barth and his wife: "For John and Shelly/ to complete your set of uniform Updike/ All best, John." Cocked, with foxing to edge of text block; a very good copy in a near fine dust jacket with fading to the red S. and the red borzoi logo of the spine. A good literary association copy between two of the preeminent writers of their generation, and of post-World War II America.
227. UPDIKE, John. "Full forty years have flown..." [Shillington]:(n.p.)[1990]. A broadside poem done on the occasion of the author's high school reunion. One of 100 (unnumbered) copies, this one signed by the author. Approximately 8" x 10"; this copy nicely matted and framed to 12 1/2" x 14 1/2". One of the scarcest Updike broadsides, as copies were apparently initially distributed unsigned at the reunion essentially an ephemeral item produced for the day, and presumably easily discarded. The bibliographers report that a "distributor" got Updike to sign a number of copies after the fact, and those were the only ones that came on the market, so the effective limitation the number of copies that were ever offered for sale is likely considerably less than 100. Fine.
228. UPDIKE, John. Typed Letter Signed and Scenes from the Fifties. 1995. Three paragraphs on small notepaper, written to a golfing buddy, in part: "I feel like an absolute chump, four-putting the last green and costing us a bundle. Until then it was about the most fun I've had, playing golf this summer." The letter is tipped inside the front cover of Scenes from the Fifties [London: Penguin, 1995], which is inscribed by Updike: "For ___ ___/ a chip off the old oeuvre/ Cheers, John/ 7/15/95." The letter is fine; the book is near fine. With hand-addressed envelope.
229. UPDIKE, John and MOSER, Barry. In the Cemetery High Above Shillington. Concord: Ewert, 1995. A poem by Updike with wood engravings by Barry Moser. Of a total edition of 150 copies, this is one of 50 unnumbered copies printed on Rives lightweight paper and handcased in boards. Signed by both Updike and Moser. Fine, without dust jacket, as issued. Uncommon in the hardcover issue.
230. UPDIKE, John. Golf Dreams. NY: Knopf, 1996. A dedication copy of this collection of short pieces about golf, some of them taken from his novels, the rest from magazines. Inscribed to a golf buddy, one of 17 living playing partners to whom the book is dedicated (as well as six departed): "For ___/ my estimable partner in battle and for [his wife] to add to her incomparable collection/ All best, John." Laid in is a golf card in Updike's hand for a round of golf at the Brae Burn Country Club, with the recipient and two others, in the month after publication. Updike tied for first with a score of 90 (par 72) and has signed the card as scorer. A second inscribed copy is included, this one to the dedicatee's wife: "for ___/ Best wishes to a dauntless collector/ John Updike." Laid into this copy is a typed letter signed, written in 2000 to the wife on hearing about his golfing buddy's serious illness. About 100 words, on 5" x 8" paper, with hand-addressed mailing envelope included. A pair of books and related ephemera that illuminate a small portion of the writer's biography, as well as those of his friends a golfing buddy and his book collecting partner. Both books are fine in near fine dust jackets; the two, with the scorecard and the letter, are housed together in a beautiful three quarter leather custom clamshell case from the Praxis Bindery.
231. UPDIKE, John. Three Stories. (NY/West Stockbridge/Prague): Thornwillow Press, 2002. One of the attractive and lavishly produced limited editions in the Updike oeuvre. Three stories that appeared in the New Yorker ("Personal Archaeology," "Free," and "The Guardian") plus an Author's Note. Bound in full black leather with raised bands and gilt stamped spine; marbled endpapers; illustrated with tipped-in photographs; and laid into a velvet-lined black linen clamshell case. This is copy number 149 of 250 numbered copies, signed by Updike, by the photographer Mariana Cook, and by the designer Luke Ives Pontifell. This copy is additionally inscribed by Updike: "for some generous patron of the 2003 St. John's Fair/ with thanks, John Updike." Fine.
232. UPDIKE, John. A Sound Heard Early on the Morning of Christ's Nativity. (Northridge): (Lord John)(2002). The first separate appearance of this poem that first appeared in The Paris Review and was collected in Americana. Printed here in card format for private distribution by the author, publisher, and the artist, Arnold Roth. This copy is signed by Updike. Small scar on the lower front panel next to the signature, from prior adhesion of the envelope (included); near fine. According to the De Bellis and Broomfield bibliography, approximately 200 were printed: 50 were for the author's use and 50 were issued signed.
233. UPDIKE, John. Autograph Postcard Signed to John Barth. 2006. Updike writes to John Barth, evidently in response to a letter Barth had sent Updike upon reading Terrorist, which Updike had published five months prior. Updike writes: "Dear John/ Your card really cheered me up, its evidence that you took the trouble to read the book is as flattering and unexpected as your kind words. I feel that the American authors of our generation are growing farther and farther apart, like galaxies. Your generous words help close the gap. Best to Shelly. John." The postcard depicts the sculpted bronze doors of the American Institute of Arts and Letters. Small abrasion over the word "cheered," else fine. Together with the complimentary copy (Compliments of the Author card laid in) of the first edition of Terrorist [NY: Knopf, 2006], sent to Barth by the publisher and precipitating the exchange. An interesting exchange between two writers of a generation who were seen, for much of their careers, as representing opposite poles of the field of literary fiction, with Updike at the "realistic" end and Barth at the "postmodern" end. Mild foxing to cloth (Barth lived in Florida); near fine in a fine dust jacket.
234. (UPDIKE, John). Pocket Poems. NY: Bradbury Press, 1985. A collection of more than 100 poems, selected by Paul B. Janeczko, and published in a pocket sized book with glossy flexible pictorial covers. Updike's contribution is "The Grief of Cafeterias" and it contains two typographical errors, which have been corrected in red copyeditor's pencil, in copyeditor's style. Slight foxing to the edges of the text block, else fine.
235. (UPDIKE, John). AMIS, Martin. Time's Arrow. NY: Harmony Books (1991). Updike's copy of Amis's novel, used by him for reviewing the book for The New Yorker in 1992. More than 150 marginal notes by Updike, with additional notes on the rear endpages, and several more sentences written on a scrap of paper laid in. The notes range from "good" to "don't understand" to several instances of "arrow trouble" and "human suffering." There is an additional note laid in to "John" from "S," that begins by saying he (or she), "S," has read the book, so perhaps "S" sent Updike this copy, and adds that he, "S," will return "the Puig" when finished. Updike's New Yorker review took on both Amis's Time's Arrow and Puig's Tropical Night Falling. A copy of that article is laid in. Time's Arrow is read, obviously, but is still near fine in a near fine dust jacket. A nice glimpse of Updike the book reviewer, engaging the material as an attentive, careful, critical and generous reader.
236. (UPDIKE, John). Golf. The Greatest Game. (NY): HarperCollins (1994). A compendium of articles and photographs on golf, with an introduction by Updike. This copy bears the bookplate of the Brae Burn Country Club's 50th annual Men's Member-Guest Tournament and is inscribed by Updike in the same month: "For ___ ___/ warm regards be happy and healthy! John Updike/ 7/29/97." Brae Burn was one of the courses that Updike played with some frequency. Oversized; fine in a fine dust jacket. Rare signed.
237. (UPDIKE, John). YERKES, James, ed. John Updike and Religion. Grand Rapids: Eerdsmans (1999). Essays exploring Updike's "sense of the sacred," with a foreword by Updike (printing the text of his 1997 remarks upon receiving the Campion Medal). This copy is signed by Updike at his contribution. Fine in a fine dust jacket. It is likely that Updike signed very few copies of this title.
238. (UPDIKE, John). DE BELLIS, Jack. The John Updike Encyclopedia. Westport: Greenwood Press (2000). Signed by Updike below his frontispiece photo. Fine in pictorial boards, without dust jacket, as issued. Again, we would guess that Updike had occasion to sign very few copies of this title.