Catalog 169

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

(Native American)
San Francisco, Taurean Horn Press, 1976. Poetry, prose and artwork by Sanchez, an artist of Laguna Pueblo descent, published as Mini-Taur Series #1, handprinted in multiple colors -- an early publication of this small press that has largely focused on works by women, especially African-American and Native American women. Marginal dampstaining to last leaf/rear cover; otherwise near fine in stapled wrappers. [#033036] SOLD
(Physical Fitness/Natural Movement)
Paris, Vuibert at Nony, (1909). The first edition (1909) of this dense, 508 page, illustrated tome by the French naval officer who developed the Natural Method of training that led to the development of the parcours du combatant (military obstacle course). Both the method and the courses fueled the compulsions of a Vietnamese-French orphan turned Paris fire fighter named Raymond Belle, whose legendary physical prowess inspired his son, David Belle, to turn the methods of "parcours" into parkour, which is undergoing a renaissance more than a century after Hebert's insistence that training be fully functional and involve walking, running, jumping, climbing, lifting, throwing, swimming, balance, and techniques for defense and rescue. As best as we can tell, this was Hebert's first book, and it was followed by a series of volumes on the Natural Method. Here presented in original wrappers, foxed at the edges, pages uncut, and for all practical purposes already separated at the spine into five signatures: a possible candidate for rebinding. [#033038] $750
[Santa Barbara], Neville, [1980]. The galley sheets of O'Brien's first limited edition, which contains an introduction and a chapter that was excised from Going After Cacciato and later appeared, in a much reworked version, in The Things They Carried. O'Brien won the National Book Award for Going After Cacciato, a magical-realist novel of the Vietnam war, while The Things They Carried is widely considered to be one of the best, if not the best, of the literary works to have come out of that war and has become part of the canon, by virtue of its inclusion in both high school and college literary reading lists. Eight long galley sheets, plus one duplicate. 7-1/2" x 19". Signed by O'Brien. Fine. Bibliographically interesting in that the galleys contain the typesetting for all the versions of the colophon, thus indicating all those for whom special copies of the publication were created. [#030132] SOLD
1996. Typescripts of O'Nan's screenplay based on Tim O'Brien's National Book Award-winning Vietnam novel. Two clean copies, each signed by O'Nan on the title page. 126 pages each, and in a Kinko's box that is hand-labeled "Going After Cacciato/ 27 August 96/ Original - Top/ Copy - Bottom." The screenplays are fine; the box has two broken corners. This same year, O'Brien provided a jacket blurb for O'Nan's highly regarded Vietnam novel The Names of the Dead. Several years back it was rumored that Cacciato would be filmed, with Nick Cassevetes as director, and with a different screenwriter. For now, we have only O'Nan's vision. [#029952] $1,750
Boston, Beacon Press, (2005). The limited edition of this second collection of new and selected older poems, copy No. 70 of 150 copies signed by the author. The first volume of her New and Selected Poems, published in 1992, won the National Book Award. Oliver also won the Pulitzer Prize for Poetry for her 1983 collection American Primitive. Fine in a fine slipcase. [#033187] SOLD
San Francisco, Auerhahn Society, 1965. An attractively printed and bound limited edition of this collection of essays which includes "Projective Verse" and the title piece, one of his most important essays, among many others. One of 250 copies printed by Andrew Hoyem for the Auerhahn Press. Mild bowing, small foredge bump; near fine, with a supplied acetate dustwrapper in lieu of the original unprinted paper jacket. [#033037] $250
1968-1975. Seven letters, totaling 18 pages, written to her friend, the novelist and screenwriter Rudy Wurlitzer. Owens was back in New York by this time, after a decade spent living in the expatriate community in Paris supporting herself writing soft porn for Maurice Girodias' Olympia Press, under the name Harriet Daimler. After Claude, her first novel under her own name, would be published in 1973. One autograph letter signed and six typed letters signed, densely packed, with thoughts on her own writing, the writing of others, sex, family, food, exercise, publishing, and writers' colonies. Also includes what seems to be retained copies of two partial letters from Wurlitzer as well: one to Owens, one to someone named Claus, typed on Owens' stationery while staying at the Chelsea hotel. Evidence of a close friendship, enacted over a decade, with Owens' no holds barred personality on display throughout. Mailing folds, an odd collage adhered to the verso of one letter, over what appears to be a handwritten postscript; else all elements are fine. [#033188] $3,500
ca. 1963-1964. Owens' 30-page typescript for the play The String-Game, with an accompanying autograph note signed by Julian Beck of the Living Theatre, dated in 1984, explaining that Owens had given him the typescript during the 1963-64 season when the Living Theatre was shut down by federal authorities, while the production of Owens' play Futz was in rehearsal. According to Beck's note, "We never -- or rather -- haven't yet produced any of Rochelle's work tho the possibility still exists." Futz, when it was finally produced in New York, won an Obie Award, one of three that Owens won. The script and the note are fine, in a three-hole binder. An original script by one of the leading American avant garde playwrights of the 20th century, with distinguished provenance. [#033189] SOLD
ca. 1963-1964. Owens' 25-page typescript for the play Homo, with an accompanying autograph note signed by Julian Beck of the Living Theatre, explaining that Owens had given him the typescript, likely in early 1964, when their theater was closed by federal authorities. Beck's note is dated "1964," but we believe this to be a typo and that it was written in 1984. The typescript has two character names added in the List of Characters, multiple instances of handwriting over type to make the type more clear, two lines of stage direction added at the bottom of page 10, and one notation added at the bottom of page four that says "Others do not vex!," clarifying a phrase in the typed text that is unclear. Ostensibly, these changes are in Owens' hand. Claspbound in black binder, with a bit of creasing surrounding the clasp and a bit of foxing to the binder; near fine. An original typescript by one of the leading avant garde playwrights of the 20th century, with a note by one of the founders of the Living Theatre, one of era's most innovative and influential forces in American drama. [#033190] SOLD
Jackson, University Press of Mississippi, (1993). A limited edition, issued as part of the Author and Artist Series, of this highly regarded book of photographs by Adams, with narrative by Smith. This is No. 2 of 50 numbered copies signed by Adams. An uncommon book in any hardcover issue, and especially scarce in this limited, numbered issue. Fine in a fine slipcase. [#911241] $2,000
(Santa Fe), Arena Editions, (1998). A retrospective monograph of Cratsley's photographs, which focused on still lifes, portraits of friends, and gay life in New York City. With a lengthy inscription by Cratsley on the half title, written prior to publication, for Christmas, 1997, in which Cratsley calls this volume his magnum opus. Also inscribed by Cratsley's partner, Billy Leight, and with a holiday notecard laid in, signed for both, in Billy's hand. Cratsley died of AIDS later in 1998. Fine in a near fine dust jacket with shallow wear to the corners and crown. [#033191] $250
Cleveland, Arc Press, 1983. Photographic tribute to White, who was a friend and mentor to the author, and inspired him to become a photographer. Inscribed by Frajndlich in 1984, and with an autograph note signed by the artist laid in, indicating that he was looking forward to doing photographic portraits of William Burroughs, which he later did. Covers rubbed; near fine in wrappers. [#033192] $250
(n.p.), Stringbook Production, (1963). The dialogue continuity script for Pinter's 1963 film adaptation of a 1948 novel by Robin Maugham. The title page lists no screenwriter, but Pinter is named on page 3 ("Screenplay by Harold Pinter") in the credits to appear on screen. A British film, this was Pinter's first collaboration with director Joseph Losey, and it earned Pinter a BAFTA nomination for best screenplay. The screenplay also won the New York Film Critics Award for the best screenplay of the year. 8" x 13", claspbound in pink covers; near fine. [#033039] $250
Garden City, Doubleday, 1962. Later printing of his third book and first novel, winner of the National Book Award. Signed by the author. Minor mottling to the board edges; near fine in a near fine dust jacket but for some dampening to the spine crown. National Book Award Prize Winner sticker on the upper outer corner of the jacket. [#033193] $50
London, Chatto & Windus, 1956. Inscribed by Pritchett, "To mother and father with all my love Victor." A novelist, critic, travel writer and short story writer, Pritchett was most well-known, and most highly regarded, for his short fiction. He has been compared to Chekhov, about whom he wrote a well-received biography of Chekhov. A couple of incidental turns to page corners; very near fine in a near fine dust jacket with several tiny edge chips. A very nice family association copy. [#029606] $500
NY, Henry Holt, (1997). The uncorrected proof copy in plain blue wrappers (not to be confused with the two more common variants of the beige advance reading copy, of which there were reportedly 500 copies each). This is the first issue blue proof, which leaves out the ampersand from "Mason & Dixon" on the title page. With significant textual variations from both the advance reading copy and the printed book, and as such the most significant printed variant of any Pynchon work ever to appear -- the only one to contain a significantly earlier version of the text than that which was finally published in book form. While the textual variations in the advance reading copy were minor, and could easily have been the work of a copy editor, those evident in this proof would have to have involved Pynchon's assent and his rewriting. We have been told that virtually the entire edition of these proofs was destroyed. Small, faint spot on the front cover, otherwise fine in wrappers. [#033040] SOLD
NY, Henry Holt, (1997). The uncorrected proof copy in plain blue wrappers (not to be confused with the two more common variants of the beige advance reading copy, of which there were reportedly 500 copies each). This is the second issue blue proof, with a tipped-in title page that adds the ampersand missing from the "Mason & Dixon" in the first issue. These blue proofs had significant textual variations from both the advance reading copy and the printed book, and as such this is the most significant printed variant of any Pynchon work ever to appear -- the only one to contain a significantly earlier version of the text than that which was finally published in book form. While the textual variations in the beige advance reading copies were minor, and could easily have been the work of a copy editor, those evident in this proof would have to have involved Pynchon's assent and his rewriting. We have been told that virtually the entire edition of these proofs was destroyed. Fine in wrappers. [#033041] $1,500
London, Jonathan Cape, (2009). The advance reading copy of the first British edition of Pynchon's take on the hardboiled American detective novel. Basis for a Hollywood movie -- not surprisingly, the first of Pynchon's books to be adapted to the screen -- but it received mixed reviews: it's hard to imagine that a Pynchon book could ever be directly translated to film and be as coherent (if that's the right word) as the book. Fine in wrappers. [#033194] $375
NY, (American Academy of Arts and Letters), 1976. Prints Pynchon's letter declining the William Dean Howells Medal for Gravity's Rainbow, in part, "The Howells Medal is a great honor, and, being gold, probably a good hedge against inflation too. But I don't want it." The letter appears in the text of William Styron's speech presenting Pynchon with the award, which is given for the most distinguished fiction published in the U.S. in a five year period. Also includes William Gaddis' acceptance of the National Book Award for J.R. and a Norman Mailer speech on writing and writers. This copy is signed by Styron, Gaddis, Mailer and William Gass, who received one of many Arts and Letters Award of $3000. Small stains to front endpapers, "beetlejuice...complements [sic] of Mr. Gaddis..." according to a note laid in by the previous owner. Otherwise fine in wrappers. Mead B23. [#033195] SOLD
NY, Random House, (1989). The uncorrected proof copy. Published in 1989, with, on the last blank, Matthiessen's notes on the subject of the fatwa against Salman Rushdie, beginning with, "Like the Ayatollah, I would like to make a very few brief [illegible] and ill-conceived remarks about a book I have just read - The Satanic Verses." The notes seem to suggest that his remarks are not to be concerned with Rushdie's "guilt," but that rather, like Leonard Peltier, "whether innocent or not, he was framed." Roughly 75 words, written on the blank facing the rear cover: the rear cover is beginning to detach; both covers are coffee-stained; a good copy in wrappers of the second issue proof, with the story "Horse Latitudes" in place of "A Replacement." Together with Matthiessen's copy of the first American edition of The Satanic Verses, unmarked but with a paragraph about Rushdie taped to the rear pastedown, with "Hitchens" written in the margin. The proof copy also has a number of annotations and markings in Matthiessen's hand in the story "Lumumba Lives," but these changes were not incorporated into the published book. [#032360] $750
(n.p.), (n.p.), [c. 1974]. An unauthorized, bootleg compilation of Salinger's previously published but uncollected short stories, in two volumes. This is a later issue, with both volumes perfectbound in illustrated wrappers and without the story "Go See Eddie" in the second volume. Salinger initiated a lawsuit to suppress this publication, which was successful, although the settlement acknowledged the legitimacy, after a certain period of time, of single, used copies of the collection being sold. Small spot to the cover of Volume 1; near fine. [#033043] SOLD
NY, Knopf, 1982. Two volumes: both the first edition and the uncorrected proof copy of Schell's extended reflection on the fate of the earth in the wake of a nuclear war, which generated an enormous amount of coverage and some controversy when first published in The New Yorker -- its publication was the first time since John Hersey's famous account of the aftermath of the Hiroshima bombing in 1946 that The New Yorker devoted an entire issue to a single essay. This book is intimately inscribed by environmental author and activist Terry Tempest Williams, in part: "May we continue to share a social conscience and a love for all that is alive." A few notes in text, else fine in a near fine, mildly spine-sunned dust jacket with one edge tear and a price sticker on the rear panel. Together with a copy of the uncorrected proof; spine-sunned, near fine in wrappers: at least one textual difference between the proof and the published text. [#033196] SOLD
NY/(Chicago), Feature/ICI, (1988). An early issue of this small periodical of gay fiction, printing Sedaris' story "My Manuscript," which was collected in his first book, Barrel Fever, in 1994: there are enough textual differences between this version and the collected version to consider this text an earlier draft. An uncommon early appearance by Sedaris. [#030137] $750
(NY), (Ed Sanders), (1964). A deliberately provocative mimeographed journal, at first emphasizing poetry and later expanding to include other writing, Fuck You was dedicated to free expression, especially defying the taboos around sex and drugs, and advocating free sex and the use of psychedelics long before those were picked up by the more widespread countercultural movements of the late Sixties. Sanders and his collaborators served as a bridge between the Beat generation of the Fifties and the later counterculture -- the latter building on the breakthroughs initiated by the former. Contributors to this issue include Allen Ginsberg, William Burroughs, Norman Mailer, Charles Olson, Gary Snyder, Robert Duncan, Robert Creeley, Paul Blackburn, Carl Solomon, Philip Whalen, Michael McClure, Gregory Corso and many others. Stapled sheets. Title page corner-clipped, mild foxing; near fine. [#033044] $500
NY, Fuck You/(Fug Press), (1964). A one-off magazine/anthology which, like Fuck You, was designed to press the limits of free speech, particularly with regard to literary works with sexual content. Contributors include Ed Sanders, Allen Ginsberg, Ted Berrigan, Ron Padgett and others. According to the (specious) colophon, this is one of 400 copies of the trade edition. Stapled sheets. Title page corner clipped; near fine. [#033045] $275
San Francisco, City Lights Books, (1990). Solnit explores the cultural contributions of six California artists from the Beat era: Wallace Berman, Jess, Bruce Conner, Jay DeFeo, Wally Hedrick, and George Herms. Inscribed by Solnit. An early book by Solnit, who writes as a historian, cultural critic, wide-ranging intellectual, and political activist, and has as a result become one of the most highly respected voices of the current era, continually bringing fresh and surprising perspectives to difficult, longstanding questions and issues. Foreword by Bill Berkson. Strip of sunning on the rear cover near the spine, else fine in wrappers. [#033046] $300
NY, Crown, [1962]. An account of Soyer's European trip visiting galleries and museums to view artworks by artists of all types and from all eras; the text is from Soyer's journals and is illustrated with his drawings from the trip. Inscribed by Soyer to his friend, the art dealer Alfred Valente, with a full page drawing on the front flyleaf. A near fine copy in a very good, tape-mended dust jacket with "R. Soyer" written on the spine. [#033197] $350
NY, Warner Books, (2004). Sixth printing of this satirical compendium by the creators of The Daily Show. Written by Stewart and the staff of The Daily Show, and edited by Stewart, Ben Karlin and David Javerbaum. Signed by Jon Stewart, Karlin, and Javerbaum, and by contributors Samantha Bee and Stephen Colbert -- an impressive array of comedic talent and political commentators. Mild rubbing to pictorial boards, else fine, without dust jacket, as issued. [#033047] SOLD
(London), Picador, (2004). The first edition of this highly praised memoir of traveling by foot across Afghanistan in 2002, just after the fall of the Taliban. Stewart's book won the Royal Society of Literature Ondaatje Prize and was selected by the New York Times as one of its 10 best books of the year, in all categories. A bestseller when it was reprinted in paperback, the hardcover edition is scarce and the first printing virtually unknown; one suspects that the majority of them went to libraries as they seldom appear on the market. Faint top edge foxing; else fine in a fine dust jacket. [#033048] SOLD
(Superheroes Archive)
1986-1993. An archive of over 400 items pertaining to the Ninja Turtles, including original manuscripts for comic strips, newspapers, photographs, and artwork. From the collection of Bram Stoker Award winning horror writer Stanley Wiater, who was hired in the early 1990s by Mirage Studios (the studio of TMNT creators Peter Laird and Kevin Eastman) to write original comic book scripts, published by Archie Comics. Wiater also wrote some of the storyline for the daily newspaper comic strip, illustrated by Dan Berger, that appeared in roughly 450 newspapers. He then authored The Official Teenage Mutant Ninja Turtles Treasury: the research and materials from that project are included in this archive. Highlights include: the original typewritten scripts for ten TMNT comic strips; over 50 original daily comic strips; over 200 photographs of models for the characters, action figures, and comic book covers; the manuscript, proposal and notes for the Treasury; correspondence between the series writers and artists; contracts and agreements; proposals for branding campaigns; character guidelines; and storyline development pitches. A more detailed inventory is available on request. [#033054] SOLD
E-list: William S. Burroughs New Arrivals