Catalog 164, T-U
203. THOMPSON, Hunter S. The Proud Highway. NY: Villard (1997). An advance copy, the first issue proof, of Volume One of "The Fear and Loathing Letters," printing Thompson letters from 1955-1967. 8 1/2" x 11" sheets, tapebound in cardstock covers. Spotting/handling to covers; near fine. Date ("3/19") on front cover. There was an advance reading copy of this title in pictorial wrappers, which is common; an uncorrected proof copy in perfectbound white wrappers, which is uncommon; and this issue, preceding and scarcer than both; we've seen only one other copy of this issue offered for sale.
204. THOMPSON, Hunter S. Fear and Loathing in America. NY: Simon & Schuster (2000). A review copy of the second of three volumes of his "Gonzo Letters," following The Proud Highway. With an "Author's Note" by Thompson. Signed by Thompson on a bookplate on the front flyleaf. Fine in a fine dust jacket, with a form letter serving as a review slip announcing the December 13 publication of this title as well as the simultaneous publication of a trade edition of Screwjack, which had previously only been available in a long since sold out signed limited edition. This copy also has a "Gonzo" drink coaster laid in.
205. (THOMPSON, Hunter S.). ALI, Muhammad and DURHAM, Richard. The Greatest: My Own Story. NY: Random House, 1975. Hunter Thompson's copy of the uncorrected proof copy of Ali's autobiography, heavily annotated by Thompson and signed by him on the front cover. In 1974, Rolling Stone sent Thompson and Ralph Steadman to Zaire to cover the Ali-Foreman "Rumble in the Jungle." They did not, reportedly choosing instead to hunt for pygmies, or get high, or buy ivory, or hang out in the hotel pool, or some combination of the above. Thompson got a rematch in 1978, when Ali faced Leon Spinks in Vegas: the result was a two-part story for Rolling Stone called "Last Tango in Vegas: Fear and Loathing in the Near Room" -- a portrait of Ali as a gonzo performer in his own field, the analogue to Thompson in his. Thompson later called him "one of my very few heroes" and wrote that "He came, he saw, and if he didn't entirely conquer -- he came as close as anybody we are likely to see in the lifetime of this doomed generation." This proof appears to have been Thompson's resource material, at least prior to his actually meeting Ali: the last 200 pages are heavily marked, and Thompson's notes cover the last two blanks and the rear cover. Many page corners turned, mild sunning, spine creased to the point of separation of the text block; at this point, the condition can only be called "good" but the provenance is exceptional -- essentially Thompson's working notes for one of his signature pieces, about one of the most famous and controversial figures of his time. Unique.
206. (THOMPSON, Hunter S.). Colt .45 Cartridge Magazine, Signed. 1985. Used seven-round magazine for a Colt .45 automatic pistol, one of many guns Thompson owned. Inscribed by Thompson (via scratching the metal): "Turn Pro Fra Pro [?]/ Nice Shooting! [double underlined]/ HST/ Owl Farm/ July 4th 1985[underlined]." An elaborate inscription, given the medium; it's not clear to whom or what Thompson was referring with the "Turn Pro Fra Pro" exhortation or phrase, but the rest of the inscription is pretty self-explanatory. Thompson was famous for having many guns, enjoying shooting, and inviting visitors to Owl Farm to shoot with him. He famously shot some of his own books and other works, and they later became desirable literary/artistic artifacts. One of the most iconic images of Thompson is of him pointing a long-barreled .44 Magnum revolver in the general direction of the photographer/viewer, giving the gun an aspect that makes it seem twice as long as it actually is. A unique artifact from one of the iconoclastic figures of our time, highlighting one of his famous interests/pursuits, and the only such artifact we have ever seen of his. Fine.
207. (THOMPSON, Hunter S.). Poster for "Fear and Loathing: A Savage Journey to the Heart of the American Dream." Lincoln: University of Nebraska [1990]. A Ralph Steadman depiction of Thompson dominates this poster announcing Dr. Hunter S. Thompson "Live in Person" at the University of Nebraska, March 16, 1990. Thompson was reportedly 90 minutes late for his reading/talk/performance, which was described in later reports as "public inebriated ramblings," but according to the promoter, who later became a friend of Thompson, the audience was happy with the show despite the author's foibles, or perhaps because of them. 11" x 14", fine with a fine ticket to the event included.
208. (THOMPSON, Hunter S.). STEADMAN, Ralph. Vintage Dr. Gonzo. (Lexington): (Joe Petro III)(1995). A color silkscreen of a classic Steadman image of Thompson, taken from Fear and Loathing in Las Vegas. (This is the image that is the basis for the poster listed above.) Initialed by Thompson and signed by Steadman. Steadman is a renowned contemporary artist in his own right, but his images of Thompson are iconic. Only two of his prints were ever signed by both Steadman and by Thompson, this being one of them. A four-color image -- the image is black-and-white with the exception of Thompson's Hawaiian shirt -- there were 500 numbered copies; this copy is labeled "A/P," an Artist's Proof, presumably a much smaller number of these were done. 16 1/2" x 19". Rolled, fine.
209. TOIBIN, Colm. The Street. (Dublin): Tuskar Rock Press (2010). A limited edition of a single story from Toibin's collection The Empty Family. Copy 17 of 50 Roman-numeraled copies bound in full leather and signed by the author. Published by the fine press that Toibin and his literary agent, Peter Straus, set up to publish fine collectible editions of modern literary works. A very handsome production. Fine in a fine cloth slipcase.
210. TYLER, Anne. Dinner at the Homesick Restaurant. NY: Knopf, 1982. Her ninth novel, and her breakthrough book: it was nominated for a Pulitzer Prize, the PEN/Faulkner Award, and the National Book Award. It was also her first New York Times bestseller. Critics gave the book high praise; John Updike wrote in The New Yorker: "Her art needed only the darkening that would give her beautifully shaped sketches solidity...In her ninth novel, she has arrived at a new level of power." Tyler has said that it is her favorite of all her books. Inscribed by the author in the year of publication on the title page to a woman who was a neighbor in Baltimore. Recipient's name on front flyleaf; fading to top stain, corners a bit rounded, and shallow reading crease to spine. A very good copy in a very good, spine and edge-tanned dust jacket with modest edge wear.
211. UPDIKE, John. Bath After Sailing. (Stevenson): (Country Squire)(1968). A single poem, and his first book to be issued as a limited edition. Copy number 43 of 125 numbered copies signed by the author. The slightest hint of edge sunning; else fine in saddle-stitched cardstock covers.
212. UPDIKE, John. A Conversation with John Updike. (Schenecdaty): (Union College)(1971). Printed as a special issue of The Idol and featuring the text of a conversation with Updike. 32 pages, fine in glossy stapled wrappers with a pencil sketch of Updike on the cover. This copy is inscribed by Updike. An uncommon piece, and scarce signed.
213. UPDIKE, John. A Good Place. (n.p.): Aloe, 1973. The lettered issue of one of his scarcer, early limited editions, from the time before they proliferated: a five-page essay on his home town of Ipswich, Massachusetts. This is Copy W of 26 lettered copies, signed by the author. Fine in saddle-stitched self wraps.
214. UPDIKE, John. Couples: A Short Story. Cambridge: Halty Ferguson, 1976. Of a total edition of 276 copies, this is copy number 16 of 250 numbered copies signed by the author. Fine in wrappers. This copy is also inscribed by Updike -- he has personalized the signature on the colophon in a different color ink -- and it includes a brief signed note by Updike on the prospectus, with a hand-addressed mailing envelope. By all appearances, Updike informed the collector of the existence of this edition by sending him a prospectus with a note saying "I thought you should be aware of this" and then the collector ordered the book and Updike personalized the signature for him. A mini-footnote to the relatively early years of Updike's being a highly collected author with numerous signed limited editions to his credit, with a glimpse of Updike's active involvement in helping a collector build his collection.
215. UPDIKE, John. The Lovelorn Astronomer. (Boston): G.K. Hall and Marquis Who's Who, Inc. (1978). A poem by Updike, published as a holiday greeting card. Signed by the author. Fine, with original (unused) mailing envelope. Together with a presumed proof copy, with the copyright notice handwritten (in an unknown hand) rather than printed on the rear cover. Also fine. Both housed together in a G.K. Hall envelope. A scarce ephemeral piece, especially uncommon signed, and notably rare in the variant with the handwritten copyright notice.
216. UPDIKE, John. Typescript of a Review of Bernard Malamud's God's Grace. 1982. A seven page typed review by Updike of Bernard Malamud's God's Grace. Published in The New Yorker as "Cohn's Doom" and later collected in Odd Jobs. Signed by Updike on the top of the first page. A few corrections, apparently those of a copy-editor. Scuff marks on the first and last page; near fine. Since Updike's papers have been institutionalized, few original manuscripts of his have shown up on the market.
217. UPDIKE, John. Lovell Thompson 1902-1986. 1986. A remembrance by Updike of his friend Thompson, read at Thompson's memorial service. Two photocopies, each four pages, folded in thirds, stapled, and stamped with Updike's address. Reproduces a couple holograph corrections and one note of transmittal. One copy is however actually signed by Updike. Near fine, and together with a copy of Bookbuilder, January/February 1987, the newsletter of the Bookbuilders of Boston, where the tribute was printed. We don't find this listed in DeBellis & Broomfield, a rare occurrence in our experience.
218. (UPDIKE, John). The John Updike Newsletter, 16 Issues. (Northridge): (Herb Yellin), 1977-1980 and (Northridge): (Lord John Press), 1992. Sixteen consecutive issues (with an 11 year hiatus between Number 14 and Number 15), a complete run of the only serial publication dedicated exclusively to Updike and his work. Issued by Herb Yellin, the founder of Lord John Press and publisher of a number of limited editions of works by Updike. Issue Number One has a tiny edge crease; issue Number 16 has the annotation "You probably have this" in the hand of a bookseller, presumably addressed to the collector who assembled the lot. The double issue Number 11 and 12 does have the 3-page insert "The Coup" laid in. Issue Number Two does not contain the laid in broadside Raining at Magens Bay. Otherwise the lot is fine. Note that issue Number 10 and 11 is smaller than the usual 8 1/2" x 11" format.
219. (UPDIKE, John). Pigeon Feathers. (Logan): (Perfection Form Co.)(1979). An educational pamphlet consisting of the title story of Updike's 1962 story collection, with exercises based on the story. DeBellis & Broomfield A75-a2, apparently: this seems to be the cream-colored variant (no priority established between a1 and a2). Uncommon. Fine in stapled wrappers.
220. -. Same title. Neither the beige nor cream of DeBellis & Broomfield A-75-a1 or a2, these wrappers are more yellow or gold. Corner crease to rear cover; near fine in stapled wrappers.