Catalog 167

All books are first printings of first editions or first American editions unless otherwise noted.

NY, Knopf, 1983. The uncorrected proof copy of his third collection of stories to be published by a major trade publisher, and a major literary event that confirmed Carver's preeminent place among American short story writers of the day, and signaled a full-fledged resuscitation of the short story in American literature. Signed by the author. In addition, Carver has made a change to the text in the last paragraph of the story "Careful" and initialed and dated the change on May 30, 1983. The changed text was incorporated into the published version of the story, so this was apparently a working copy of the proof. Fine in wrappers with a tinge of spine sunning. [#032754] $1,750
Northampton, Basement Press, 1985. Of a total edition of 15 numbered copies, this is Copy No. 10, and is signed by Catheryn Yum, the book's designer and printer. Laid into this copy is a photocopy of the original autograph letter from Yum to Carver's publisher, requesting permission to reprint two stories for a project for her typography class. Interestingly, she wrote to McGraw-Hill, publisher of Will You Please Be Quiet, Please?, for permission to use two stories that she did not end up using. At the bottom of the sheet, Carver has written his personal reply to her, which reads, in part: "You have my permission, and gladly, for you to use the above mentioned stories in the manner in which you describe." Yum has appended a note on the same sheet indicating that this was the only response that Carver wrote himself; the permission to use the stories she actually ended up using, which came from a book published by Knopf, came in the form of "your basic form letter from a secretary." Also laid in is a photocopy of a two-page letter she wrote to Carver after the book was finished (apparently enclosing a copy for him), thanking him for his stories and his permission, telling him a bit about herself, and identifying the tipped-in illustration as "a hand drawn lithograph printed on a hand press." Clothbound. A fine copy of one of the scarcest Carver items, with some background information about it. No copy has appeared at auction; OCLC locates only 4 copies in institutional collections. [#032755] $1,500
(Chico), (Chico State University), 1960. The first issue of the Chico State literary magazine, of which Carver was a founding editor. The biographical introduction to the included William Carlos Williams poem, "The Gossips," is, as far as we can tell, the first piece of writing Carver published other than a 1958 letter to the editor of the Chico State student newspaper. The introduction gives a brief summary of Williams' life, a capsule summary and analysis of his poetry, and a brief, partial listing of the honors and awards he had won. Carver's first work of fiction, "Furious Seasons," was published in a later issue of Selection that same year. A very uncommon, early appearance in print by Carver. This copy bears the ownership name and address of Raymond Carver's brother, James. This is the only copy we have ever seen. Near fine in stapled wrappers. [#032756] $1,250
NY, Knopf, 1994. Inscribed by the author: "For Oriole Feshbach - who has offered friendship & support over some many years - with love/ Amy/ 29 June 1994." Feshbach, an artist whose work is often inspired by poetry, has published and exhibited images based on Clampitt's work. Fine in a fine dust jacket. A nice association copy of a book that is seldom found signed: Clampitt died less than three months after this inscription. [#032757] SOLD
NY, Random House, (2015). The advance reading copy of this extravagantly praised, massive novel of an internet-era ghost writer, which has drawn comparisons to the writings of Thomas Pynchon and David Foster Wallace. As is the case with most contemporary novels, the number of advance copies that circulate in printed form seems to have dropped significantly from pre-digital times. Fine in wrappers, with blurbs by Rivka Galchen, Joshua Ferris, Norman Rush, and Adam Ross. [#032758] SOLD
[Toronto], [Rampike], 2012. A collection of six limited edition broadsides, plus a biographical page, from seven Canadian poets: Leonard Cohen, George Bowering, Daphne Marlatt, Marty Gervais, Karl Jirgens, Maxine Gadd, and Judith Fitzgerald, with artwork by Cohen and by Alison Dilworth. This is copy No. 6 of 52 numbered sets, which were issued as a fundraiser for BookFest Windsor, a literary festival in Ontario, Canada. Signed by Cohen and Fitzgerald on the broadside of their joint contribution, entitled "Blood Culture," and also stamped with Cohen's personal chop, and embossed with his "Order of the Unified Heart" logo. Additionally inscribed by Fitzgerald on the biographical page. Cohen's biographical statement reads, "Leonard Cohen is." Judith Fitzgerald was a highly respected Canadian poet, and one of the organizers of BookFest Windsor. She and Cohen were longtime friends, and Cohen's allowing her to use his artwork and print a poem as a fundraiser was a way for him to contribute to the festival. The sets were issued unsigned; this is one of four that were signed by Cohen, according to a Fitzgerald email. She called it "the second rarest set," because of the additional stamps, not to mention her own inscription. A unique item as such, and a rare signed Leonard Cohen piece. Together with a review copy of Fitzgerald's last book, Impeccable Regret, which includes a poem she co-wrote with Leonard Cohen. All broadsides fine, 11" x 8-1/2", in a hand-crafted Dilworth envelope; the book is fine in wrappers. [#032759] SOLD
(Coloring Book)
Berkeley, Banyan Tree Books, (1981). A coloring book/sketchbook based on Ernest Callenbach's 1975 influential utopian novel Ecotopia, in which Washington state, Oregon and northern California secede from the Union to create a society based on ecological principles. Callenbach's book both reflected, and served as a blueprint for, the back-to-the-land movement of the 1970s and the Green movement later, and also served as a critique of society that it repudiated. Inscribed by Clancy to another artist, "with much love shared about drawing and life," and dated in February, 1981. Fine in stapled wrappers. [#029873] $125
(Connecticut River)
Glastonbury, Blue Moon Press, 1995. A fine press anthology of poetry and prose about the Connecticut River, with woodcuts by Jim Lee and contributions by eight writers living in the four states of the Connecticut River valley: W.D. Wetherell, Cynthia Huntington, Sydney Lea, Roger Weingarten, Gary Metras, Wally Swist, Brendan Galvin, and David Holdt. 43 pages, including one fold-out illustration, and 21 woodcuts, of which 15 are multi-color. Silk cloth binding with woodcut illustrated endpapers, showing on the front endpaper the locations of the pieces of writing and on the rear the authors' and artist's homes. One of 125 copies, of which 100 were for sale, signed by all authors and the artist. A beautiful production with eloquent writings and elegant illustrations. 7-5/8" x 13". At the published price: [#029906] SOLD
NY, Bantam, (1987). The uncorrected proof copy of the first book in an ambitious tetralogy that also includes Love and Sleep, Daemonomania, and Endless Things. Signed by the author. Crowley's first book after the World Fantasy Award-winning Little, Big, this was a finalist for the World Fantasy Award and was selected as one of David Pringle's 100 best fantasy novels of all time. According to Crowley, there were textual differences between this proof and the final published book. Near fine in wrappers. [#020178] $200
[Seattle], Incunabla, 2007. The lettered limited edition of this poster, a broadside excerpt from Crowley's 1981 novel Little, Big, issued in conjunction with what was to be the 25th anniversary edition of Crowley's World Fantasy Award-winner, but which is being released in its 35th year (2016). (The website, provides updates). A 24" x 37" poster, with art by Peter Milton, whose haunting drawings, etchings, engravings and prints are to grace the new edition. When Little, Big was first published, Ursula Le Guin famously wrote that "all by itself it calls for a redefinition of fantasy"; Thomas Disch called it "the greatest fantasy novel ever." The literary critic Harold Bloom listed three books by John Crowley, including Little, Big, in his book The Western Canon. Bloom is listed as providing an introduction to the anniversary edition of the novel. One can get a sense, from this poster, of the aesthetic of the anniversary volume, as one can from various parts of the above website. One of 26 lettered copies, this being letter "L," signed by John Crowley, artist Peter Milton, editor John Drummond and book designer John D. Berry. Rolled; else fine. A scarce artifact of a prolonged publishing project and labor of love, associated with one of the best-loved and most highly regarded fantasy novels of all time. [#029580] $750
[c. 1939]. A painting by Cummings of New Hampshire's Mount Chocorua, one of the most frequent subjects of his paintings, as seen from Joy Farm, his home in Silver Lake, NH. Pictured is a clearing before a line of trees in the foreground, with Chocorua rising under cloudy skies in the background. Likely created during the early fall of 1939, based on other (smaller) paintings we have seen, with a similar viewpoint and palette, during a time when Cummings would devote the mornings to painting and the afternoons to poetry. The artist Cummings most admired was Paul Cezanne, and Cummings used Mount Chocorua the way Cezanne used Mont Saint-Victoire, as a way to explore not just the subject but the various ways of treating the subject. His willingness and freedom to vary his style and palette while painting the "same" subject under wildly different conditions was perhaps the greatest legacy he took from his idol: Cezanne painted his mountain over 60 times; Cummings painted Chocorua at least that many. Oil on canvas. This is (for Cummings) a very large image: 42" x 42". Signed by Cummings on the verso. Cummings seldom signed his works and painting carries the largest Cummings signature we have encountered, measuring 5-1/2" across. Provenance: the family of James Stribley Watson, owner of The Dial and a lifelong friend and benefactor to Cummings. Fine. [#032728] SOLD
1939. A painting by Cummings of New Hampshire's Mount Chocorua, as seen from Joy Farm, his home in Silver Lake, NH. Unsigned but dated on the verso, in an unknown hand, "Sept 16 '39." Also on the verso: "GBM #830," evidence of having been in one of the catalogs of Cummings' paintings put out by the Gotham Book Mart between the late 1960s and early 1980s, when the bookshop hosted a number of shows of his work and also took a series of exhibitions on the road to museums and galleries around the country. Oil on canvasboard, 16" x 12". [#031582] $5,500
NY, Wallace Literary Agency, (2006). A photocopied typescript of DeLillo's 2007 "9/11" novel. 398 hand-numbered, double-spaced pages, albeit with one page numbered as though ten pages ("189-199"). DeLillo is known to use an actual typewriter, so "photocopied typescript" does apply, rather than computer printout. At least three pages (45, 46, 54) are supplied twice, the duplicates having been faxed (with the name of the literary agency and the 2006 date in bottom margin): these pages show revisions. Multiple, small (photocopied) hand-corrections throughout. And at least one page (apart from the duplicate pages mentioned) showing text that differs from the published version. Loose sheets, with the title page on heavier paper stock and with the stamp of the Wallace Literary Agency. Near fine. A rare view of a DeLillo novel as a work-in-progress. DeLillo was given a Medal for Distinguished Contribution to American Letters in 2015 -- in effect a National Book Award for lifetime achievement. [#032760] SOLD
(n.p.), (n.p.), [ca. 1983]. Photocopied typescript of Didion's 1984 novel, with significant textual differences from the published book. An early typescript, reproducing some editorial annotations and her agent's stamp (Ziegler Associates, Los Angeles), with no publication information provided. Democracy was Didion's first novel in seven years, with two books of nonfiction in between. A post-Vietnam story involving the CIA, it could be seen as a fictional counterpart to her 1983 nonfiction book, Salvador: both tracked the underside of American involvement in Third World conflicts. Democracy was praised for its reportorial accuracy -- something Didion had cultivated in her nonfiction pieces -- but Didion challenged fictional convention by introducing herself as the narrator, the storyteller, and giving the novel a self-consciousness and reflectiveness more often found in her nonfiction than her fiction. 8-1/2" x 11" three-hole punched sheets; light green cardstock covers with title and author handwritten on the front cover; title written on bottom page edges; bound with two brass brads; near fine. An unusual, early state of a major novel by one of the most acclaimed writers of her era, winner of a Medal for Distinguished Contribution to American Letters from the National Book Foundation in 2007. [#032761] $500
(Columbia), University of Missouri Press, (1974). Her first book, a collection of poetry, which begins: "Today I saw a wood duck/ in Tinker Creek." Inscribed by the author to her second husband, prior to their marriage: "For Gary/ from Annie/ February 13, 1976/ Lummi Island." Dillard and Gary Clevidence were married from 1980-1988. "Ex Libris Annie Dillard" bookplate on the half title, which we are told was applied by the author prior to a selection of her books going to auction. Mild foxing to the page edges and thin, flexible cloth boards; near fine in a near fine, spine- and edge-sunned dust jacket. A notable association copy: the book is dedicated to her first husband, Richard, and this copy is inscribed to her second husband, after her divorce but before her second marriage. [#032714] SOLD
NY, Harper & Row, (1977). Annie Dillard's own copy of this small book of poetic meditations, marked by her on nearly two dozen pages (roughly a third of the book). The great majority of the markings serve as a map, as though for a reading, including the instruction "pause." Perhaps two or three instances of editing. Holy the Firm was Dillard's third book, and her intention was to write about whatever happened on Lummi Island, where she was living, during a three-day period. When an airplane crashed on the island on the second day, it caused her to meditate on the problem of pain, and how a just and merciful God would allow natural evil to occur in the world. These meditations on pain, God, and evil continued to resonate throughout her work, particularly in her award-winning volume For the Time Being, published in 1999, more than 20 years after this book. Near fine in a very near fine dust jacket. "Ex Libris Annie Dillard" bookplate on the verso of the half title. A unique copy of one of the volumes that characterizes Dillard's unique place in our literature: Holy the Firm is only 66 pages long but took her 14 months of writing full-time to complete, and it embodies her concerns with philosophy -- in Greek, literally, "the love of wisdom" -- as well as religion, metaphysics, the natural world, and the place of human life and consciousness within and among all of these. [#032716] SOLD
NY, Harper & Row, (1982). The author's own copy of this collection of essays, her fifth book. Signed by the author, with her corrections to at least five pages of text, and with her markings and self-instructions for what appears to be a reading from the text. Dillard has taped a square of paper to the front board listing the pages with "Corrections," under her heading "be wise - write it down." Small sticker taped to the spine, with the fading word, "MINE." "Ex Libris Annie Dillard" bookplate on the front pastedown. One essay in this collection was chosen for the Best Essays of the Twentieth Century volume and another won New York Women's Press Club award for its year. Several page corners turned. Outer corner of text block stained. A very good copy, lacking the dust jacket and, with the author's own markings and changes. Unique. [#032717] SOLD
Middletown, Wesleyan University Press, (1984). Dillard's own copy of this nonfiction account of the author's encounters with Chinese writers, both in China and in the U.S. With Dillard's notes on about a half-dozen pages and with two Post-Its on inner pages with instructions to herself, all apparently in preparation for a reading. Small sticker on the spine, stating "MINE"; an "Ex Libris Annie Dillard" bookplate on the copyright page; and a laid in note saying "Don't remove any Post-Its or other paper from these books." Interestingly, additionally inscribed by Dillard to Garry Trudeau (but obviously not presented to him) in 1987: "with all good wishes from your admirer." Dillard and Trudeau each won a Pulitzer Prize in 1975 (for Pilgrim at Tinker Creek and Doonesbury, respectively). Published by the press of a small university, where Dillard taught. Fine in wrappers. [#032718] SOLD
(NY), HarperCollins, (1992). Dillard's own copy of the limited edition of her first novel, set in the Pacific Northwest of the 19th century. After six genre-challenging books, this was Dillard's first attempt to write what she called "an old-fashioned novel." In addition to the trade edition, her publisher issued a deluxe, slipcased, signed limited edition of 326 copies. Dillard's copy is Copy D of 26 lettered copies reserved for private distribution and is signed by the author. Dillard's bookplate on the verso of the front flyleaf; fine in a fine slipcase. [#032720] SOLD
No date, 6" x 8-1/2". Dillard said she did not remember painting this portrait from a photograph, but that she must have, and couldn't tell if she had used oil of gouache (we would have guessed oil). She self-deprecatingly commented that Levi, author of Survival in Auschwitz and The Periodic Table, among others, "had been a great favorite of mine until everybody agreed, when I hypocritically lost interest." Dillard has reportedly stopped writing, dedicated her time to painting instead; for a time prints of her artworks were available at her website, with the proceeds being donated to charity; original artwork by her, however, is scarce in the marketplace. Signed "Annie Dillard" in the lower left corner. About fine. [#032762] $2,500
NY, Viking, (1976). Inscribed by Booth to Annie Dillard: "For Annie,/ who knows the latitudes/ this North light/ slants in from -- / Philip." With Dillard's bookplate below the inscription on the front flyleaf. Booth has also noted, on the half title, that he has made corrections to two pages, but we see his marks on only one page, and those to eliminate stanza breaks. Modest foxing to edges of text block; near fine in a near fine dust jacket. This volume was on the Pulitzer Prize short list. [#032723] SOLD
NY, Morrow, (1975). Inscribed by Pett to Annie Dillard: "Annie, Thank you for a faith in me which did so much to get this book published/ Stephen Pett." With Dillard's bookplate below the inscription. Modest foxing to the edges of the text block; near fine in a near fine dust jacket. [#032724] SOLD
Northampton/Dublin, Deerfield Press/Gallery Press, (1978). Inscribed by the author to Annie Dillard and her husband, on behalf of himself and his wife, Lee Smith, with "All happy days!...or shall we say Cheers!" A nice association copy: Lee Smith was the dedicatee of Dillard's book For the Time Being. Dillard's bookplate on second blank; near fine in a near fine dust jacket with mild spine tanning and a small edge tear at the upper rear spine fold. [#032725] SOLD
Kansas City, Andrews and McMeel, (1995). Inscribed by Trudeau to Annie Dillard: "For Annie -- Get ready to feel old...Cheers, Garry/ Feb 1 '96/ NY." With Dillard's bookplate on the front flyleaf. Dillard and Trudeau each won a Pulitzer Prize in 1975 (for Pilgrim at Tinker Creek and Doonesbury, respectively). Spine- and edge-sunned; near fine, lacking the dust jacket. There was a signed limited edition put out by the Easton Press; signed copies of the trade edition are uncommon, and association copies particularly so. Trudeau provided dust jacket praise for Dillard's 2016 book, The Abundance, a "best of" selection from her works, and one gets the sense that the respect and mutual admiration of each for the other goes back to nearly the beginnings of their writing careers, over 40 years ago now. [#032727] SOLD
1964. December 3, 1964. Just over a year after the assassination of President John F. Kennedy, Doctorow, in his position as editor-in-chief at The Dial Press, writes to William Styron's agent, John Dodds, asking for Styron's participation in a "volume of fiction by the country's leading contemporary writers on the subject of the assassination of the President." Doctorow's page-and-a-half letter is in large part an explication of the concept of the book and, by extension, his views on the place of literature in society, in part: "now that the facts are on record, the whole awesome and terrifying story must be rendered for us by our leading creative writers, simply because the facts themselves do not provide the catharsis or relief by which we can absorb or accommodate the experience...we hope that we may come up with some genuinely enduring stories which will help pass the assassination, and everyone connected with it, into the creative consciousness of this country." Doctorow notes that "There has been no tradition in this country of writing specifically for an occasion. I don't think this means, however, that it can't be done." Nonetheless, we could find no evidence of the book's publication. Signed by Doctorow, as "Ed." Two pages, stapled in the upper corner, folded in thirds but also in half; near fine. Doctorow is most well-known as "One of America's greatest novelists," as Barack Obama called him. His list of literary awards is long, and the fact that he was editor-in-chief of a major New York publisher at the age of 33 is nothing short of remarkable. An extraordinary and revealing letter about an ambitious but never-produced book project. [#032763] SOLD
Boston, Godine, (1986). The uncorrected proof copy of this collection of four novellas and two stories by one of the writers who, along with Raymond Carver, helped to resurrect the short story as a literary form in America in the 1970s and 80s, and who was the undisputed master of the novella form in his time. Spine-sunned; near fine in wrappers with promotional sheet laid in. [#032764] SOLD
Ames Lake/Portland/Washington, D.C., M. Kimberly Press, 1991. An artist's book by the author of Geek Love, among others. One of 125 copies printed for the National Museum of Women in the Arts as the 1991 Library Fellows Artists' Book, the second volume in that prestigious series. Of each title produced, the artist received 25 copies and the Library Fellows each received a copy, leaving only a very small number available for sale. Signed by Dunn and by Mare Blocker, a highly praised book artist and Dunn's collaborator on this project. Elaborately printed and bound, with numerous woodcuts, color illustrations, fold outs, etc. Fine. [#914648] $1,500
NY, Macmillan, (1966). The uncorrected proof copy of the suppressed first edition of the only book written by Bob Dylan, arguably the most important American singer/musician of the last 50 years. Dylan was within two weeks of finishing "a few changes" to the galleys when a motorcycle accident halted his work on the book. It remained unpublished for five years, during which time a mimeographed pirated edition was issued by Wimp Press, created from a copy of the proof that had been circulated. This was followed by various other piracies. The original edition made it only to this galley stage before being pulled. According to the preface of the eventually published book, there were "a few sets of galleys that had gone around to different people..." The accident that delayed this edition also removed Dylan from the public eye for several years and it was a different world -- having been through the polarizing effects of the Vietnam war and the political upheavals of the late Sixties and early Seventies -- when Tarantula was finally published. Dylan had been eclipsed by his times and, while still a legendary figure his influence, was barely a shadow of what it had been in 1966 and earlier, when he galvanized both the folk music scene and the young protest movement. Ownership name of Ondina Fiore in the upper corner of the front cover. Ondina was the daughter of Quentin Fiore, noted graphic artist and book designer, who designed and was co-creator with Marshall McLuhan of The Medium is the Massage (1967), a blending of text and graphic images that was intended to illustrate the idea that information is conveyed in multiple ways, through context as well as content. Quentin Fiore received this proof -- presumably because the publisher was considering having him design the book -- and gave it to his daughter, who was more of the generation that was following Bob Dylan at that time than he was. A rare state of the only book written by the legendary singer at the height of his influence, when his poetry and songs were transforming both folk and rock music, and by extension popular culture, and an intriguing copy: it is easy to imagine that had this book been designed by Fiore at the time it was originally intended to have been published, it would have had a very different impact than it did, and would have been an extremely memorable project. We've only seen three other copies of this proof offered for sale over the years, none with as interesting provenance as this one has. Tall, comb-bound wrappers. Tiny corner chips and smudges to covers; very good. Laid in is a page from a Time magazine article from 1969, in which Dylan comments on his writing Tarantula. [#032765] SOLD
Boston, Houghton Mifflin, 1955, 1956, 1957. Three volumes of Best American Short Stories, each including a story by Eastlake and each inscribed by Eastlake to his father. The first volume, which contains "Little Joe," is inscribed simply, "With love/Bill," and is tight, but the covers are stained from use: a good copy in a very good dust jacket with one foredge stain, some edge creasing, and a chip to the crown. The second volume contains "The Quiet Chimneys" and is inscribed "For Pap/ with love/ Bill." Some offsetting to spine; a near fine copy in a very good dust jacket chipped at the corners and spine ends. The third volume contains "The Unhappy Hunting Grounds" and is inscribed "Love for Pap/ Bill." Near fine in a very good dust jacket with chipping to the spine extremities. Eastlake's early fiction, including his first three novels and these early stories, were set in the American southwest; he helped put that region on the literary map, to be followed by such writers as John Nichols, Tony Hillerman, Leslie Marmon Silko, and later Cormac McCarthy. Provenance: Eastlake's estate (Marilyn Hill). These were the first three appearances of six total for Eastlake in Best American Short Stories; Eastlake's first published novel, Go in Beauty, came out during this run, in 1956. [#029080] $750
NY, Atheneum, 1960. A collection of six lectures on "man's vision of nature and himself," by the author of The Immense Journey, among others. Inscribed by Eiseley to Hiram Haydn: "To Hiram Haydn/ beloved friend and distinguished editor/ from/ Loren Eiseley." Haydn had been Eiseley's editor and champion at Random House for The Immense Journey. From Gale E. Christianson's biography of Eiseley, Fox at the Wood's Edge: "Hiram faced us all down at the sales conference [by claiming] that The Immense Journey would sell forever. And that's what it promises to do. We all dragged our feet on it and we were wrong." When Haydn broke ranks with Random House in 1959 to help start a new publishing house with Alfred Knopf, Eiseley agreed to follow: in return Haydn told Eiseley he would name the new publishing venture Atheneum, after the Athenaeum Award Eiseley had recently won (for Darwin's Century, which had been published by Doubleday). Atheneum's first Eiseley publication was The Firmament of Time, which was a finalist for the National Book Award and won the John Burroughs Medal, the highest honor given to a book of natural history in the U.S. Mild dustiness to the top edge; a very near fine copy in a very good dust jacket with modest edge wear and spine fading. One of the best possible association copies of this book, which was a landmark in both the author's writing career and in the history of a fledgling publisher that went on to become one of the premier literary publishers in America. [#032766] $1,250
E-list: William S. Burroughs New Arrivals