All books are first printings of first editions or first American editions unless otherwise noted.
NY, Random House, (1995). Inscribed by the author to Peter [Matthiessen], "in praise of his work." Ackerman won the Henry David Thoreau Prize in 2015 for excellence in nature writing; Matthiessen won the award in 2013. From the library of Peter Matthiessen. Fine in a fine dust jacket. [#031787] SOLD
ALGREN, Nelson and DEUTCH, Stephen
[Chicago], (n.p.), (1960s-1980s). An archive of correspondence, photographs, books, and articles documenting the collaboration and decades-long friendship between Algren and photographer Stephen Deutch, who provided the photographs for the 1961 edition of Algren's now-classic Chicago: City on the Make. Approximately 60 pieces of correspondence from Algren to Deutch, in addition to inscribed books and photographs; drawings by Algren; manuscripts by Joe Pintauro about Algren; correspondence to Deutch about Algren after Algren's death; items related to the establishment of the Nelson Algren Fiction Award, etc. Deutch was both a commercial photographer and also a fine art photographer. He had a thriving photography business in Chicago, and also liked to get out into the city and photograph the daily lives of Chicagoans. His sensibility appealed to Algren, who also had an affinity for the unsung, and the two became fast friends and, later, collaborators. Their correspondence dwells on their shared interests, including but not limited to horse racing, writing and literature, and politics -- the politics with a decidedly left-wing bent. There are a number of portraits of Algren by Deutch, as well as a number of candids, and one photo by Algren of a street scene in Vietnam, which he inscribed to Deutch. Approximately four boxes of material: a detailed inventory is available. [#033370] SOLD
(NY), Dell, (1991). A review copy of this three volume set of more than 50 new stories by such writers as Brian Aldiss, Katherine Dunn, Philip Jose Farmer, Kathe Koja, Jerome Charyn, Ed Gorman, Dan Simmons, Loren D. Estleman, F. Paul Wilson, Stuart Kaminsky, and Chelsea Quinn Yarbro, as well as several classic stories by Harlan Ellison, Anne Rice, and Kurt Vonnegut. Three paperback originals; trace edge foxing, else fine, with one combined publicity sheet laid in. [#033441] SOLD
NY, Morrow, (1990). The first state uncorrected proof copy, with the Author's Note at the back still present: Anthony's explicit endorsement of the pedophilia that he fictionalizes in his book was censored from later proofs and from the published text. Bookplate of another author inside the front cover; fine in wrappers. [#033210] SOLD
Arlington Hts, Dark Harvest, 1989. The limited edition of this collection of 50 Asimov stories, one from each year of his writing career to that point. Of a stated limitation of 500 copies, this one is indicated as "P/C" (Publisher's Copy), and is signed by Asimov and by illustrators Ron Lindahn and Val Lakey Lindahn. A massive volume, nearly 700 pages. Fine in a near fine dust jacket and slipcase. [#033442] SOLD
NY, Knopf, 1979. The uncorrected proof copy of the third book by this writer and iconic figure of the Los Angeles arts culture of the 1960s, 70s and 80s. Babitz was famous for her art, her frank sexuality in both her life and her writings, and for her relationships with some of the preeminent male artists of the era. She had affairs with Jim Morrison, Ed Ruscha, and a host of other famous men, and her place in the L.A. culture has been compared to that of Edie Sedgewick of Andy Warhol's Factory, in terms of her wide-ranging impact on her cultural milieu. Her first book, Eve's Hollywood, published in 1974, was a collection of essays and vignettes on the L.A. culture of the 60s, and 70s, and among its dedicatees were Warhol, Morrison, Stephen Stills and David Geffen. This book is subtitled "Advice for Young Ladies Eager for a Good Time," an ironic take on the etiquette books of a previous era, and an indication of the author's place as a proto-feminist and a model for a new, outspoken female sensibility. Near fine in tall wrappers. [#033323] SOLD
London, Gollancz, 1962. The uncorrected proof copy of Ballard's second book, which he later called his "first novel" after disavowing The Wind From Nowhere as "a piece of hackwork." Signed on the title page by Ballard. In this novel, global warming has rendered most of Earth uninhabitable, making The Drowned World not only one of the great works of dystopian fiction, but one of the earliest works of climate fiction. Tapebound, in unprinted wrappers; spine slant to text block; near fine in a near fine, mildly spine- and edge-tanned proof dust jacket with a "0/0" price on the front flap. Scarce: we have never seen another proof copy of this, nor any earlier Ballard proof (i.e., of The Wind From Nowhere), and can find no indication of institutional holdings in OCLC, nor any auction records for a proof copy. A rare, perhaps at this point, unique, state of a seminal novel in a genre that is only now melding into the field of mainstream literature, outside of the genre of speculative science fiction. [#033324] $7,500
BENET, Stephen Vincent
NY, Henry Holt, 1921. The first novel by the Pulitzer Prize-winning author of John Brown's Body and The Devil and Daniel Webster, among others. Benet was one of the most highly regarded men of letters in America during his short life -- he died at age 44. He edited the prestigious Yale Series of Younger Poets, where he published such writers as James Agee, Muriel Rukeyser, and Margaret Walker. He was awarded a posthumous Pulitzer Prize for his unfinished epic poem, "Western Star," about the settling of the United States. A fine copy, lacking the dust jacket. [#033325] SOLD
NY, Delacorte, (1969). A review copy of the first combined edition, and the first hardcover printing of Trout Fishing in America (the other two titles having appeared as hardcovers in signed limited editions). The text of each title is reproduced from the original editions, complete with title pages, copyright pages, etc. Spotting to the edges of the text block and lower corner of the final page; some rubbing to pictorial boards. Very good in a very good dust jacket with wear at the edges and folds, and a tiny burn mark on the front panel. [#033443] $250
Berlin, Paul Zsolnay, 1928. A novel by the Czech born, German language author, perhaps best known as the friend, biographer, and literary executor of Kafka, who failed to follow Kafka's instructions to burn his works, choosing to publish them instead. Inscribed by Brod. Rebound, and still starting at the hinges; about very good. Although Brod was very prolific as a writer, books signed or inscribed by him are uncommon. [#033215] SOLD
Santa Rosa, Black Sparrow, 2001. Two comb-bound advance copies: one shot from typescript and printed on rectos only, 298 pp.; the second copy is typeset and printed on both sides of the page, 355 pp. Laid into the first copy is an earlier version of one included poem: "oh to be young in 1942!," here titled just "oh, to be young!" The poem is two pages, the first being ribbon copy. Photocopied emendations to the table of contents in the first copy, removing the titles of poems not included; penciled notes to the table of contents in the second copy. The first one has the date "2/3" and the publisher's initials, "JM," on the cover; the second one is also initialed and is dated "4/11." Each is fine with an acetate cover. From the collection of John Martin, publisher of Black Sparrow Press, which printed most of Bukowski's work for the last nearly 30 years of his life, and which was in turn supported by the success Bukowski had with his poetry and his fiction, which rewrote the boundaries of what was acceptable as art. [#033372] $1,250
(BURROUGHS, John). GASSETTE, Grace
Chicago, Grace Gassette, ca.1915. An invitation to an exhibition of paintings by Grace Gassette, which includes only one tipped-in color plate, that being Gassette's "Portrait of John Burroughs." The portrait is 4-1/2" x 4-7/8" and is tipped into a card that is 5-3/4" x 7-3/8" when closed. "Painted at Roxbury, N.Y." (likely Burroughs' summer residence, Woodchuck Lodge); the show was held at Gassette's studio in Chicago's Fine Arts Building. In addition to being an artist, Gassette was renowned for her work with wounded soldiers in France during WWI. Fine, with fine, unused, mailing envelope. [#033326] $350
BURROUGHS, William S.
London, John Calder/Olympia Press, (1963). The uncorrected proof copy of this drug novel, which consists of an amalgam of sections from The Naked Lunch, The Soft Machine and The Ticket that Exploded, as well as some material not reproduced elsewhere. Inscribed by Burroughs "For Richard Aaron" on the half title. Also on the half title, in another hand: "M. Farmer. Reading copy. Publication date: Oct. 31st, 1963." Published at the height of Burroughs' experimentation with the cut-up technique, this volume embodies that approach, as well as anticipating the later variation of it that we now call "sampling." A good association copy: Richard Aaron was, among other things, the person who negotiated the sale of Burroughs' literary archive to Robert Altmann of Liechtenstein. There was no U.S. edition of this title. Near fine in plain green wrappers, in a very good dust jacket, which differs from the published jacket by virtue of being trimmed to a shorter height and having had the flaps trimmed as well. [#033065] $1,250
BURROUGHS, William S.
London, John Calder, (1964). The first British edition. Inscribed twice by Burroughs, first to Richard Aaron, undated, and then to Bob Jackson in 1984. As such, a double association copy: Jackson purchased Burroughs' literary archive, the so-called "Vaduz archive," from Roberto Altmann of Liechtenstein, when Altmann's plan to use Burroughs' work as the basis for an avant garde art institute in Vaduz had fallen through; Aaron had negotiated the sale to Altmann. Presumably Jackson bought the copy already inscribed to Aaron, and then had Burroughs inscribe it again to him. Since they are the two people most involved in the sales of Burroughs' papers, and the preservation of his archive, it is a copy that resonates with literary history. The first printing of this edition was 4000 copies. Near fine in a near fine dust jacket. [#033096] $2,500
BURROUGHS, William S.
London, Jonathan Cape, (1970). The uncorrected proof copy of the first British edition (following a French edition) of this interview with Burroughs by Daniel Odier. Inscribed by Burroughs to Richard Aaron. An excellent association copy: Aaron was the bookseller who helped negotiate the sale of Burroughs' archive to Roberto Altmann in Liechtenstein, and he was also involved in the sale that brought the archive back to the U.S., when Robert Jackson bought it from Altmann. Aaron also published Burroughs, under his Am Here Books imprint. Near fine in a near fine, proof dust jacket, which is crumpled at the crown from where it extends above the proof. Proof copies of this edition are scarce, let alone ones with a significant association. [#033081] $1,500
BURROUGHS, William S.
(Cherry Valley), Cherry Valley Editions, (1976). The publisher's "silver print" or "blue proof" of this book dedicated to Burroughs' parents. Inscribed by Burroughs in 1984. Together with an undated autograph letter signed from the publisher, Pam [Plymell] offering the recipient manuscript material for the book (not here present) in exchange for money to alleviate financial difficulties. Also together with the softcover edition of the published book, which is fine in wrappers. The proof has some sunning to the rear cover and a 5-digit number written in ink on the front cover; near fine. A unique artifact of the publishing process, and an interesting letter that delineates the materials that were assembled to produce the book, and also sheds some light on the details of publication. [#033063] $1,500
BURROUGHS, William S. and GYSIN, Brion
(San Francisco), Auerhahn, 1960. A collaboration by Burroughs' with his longtime friend, Brion Gysin. This copy is inscribed by Burroughs to Ted Berrigan in New York in "1953" -- we're guessing he meant 1963. Also signed by Gysin, who designed the cover and illustrated the book, in addition to providing his own texts. Printed by Dave Haselwood, who later reissued this title under his own imprint in 1967. This edition is estimated by the bibliographer at 1000 copies. Covers and four illustrations by Gysin. Very good in wrappers. Seldom found signed by both, and an excellent association copy. [#033074] SOLD
(BURROUGHS, William S.)
NY, Entermedia, 1978. The program for three days of performances, film, readings and discussions honoring Burroughs' and his writings in 1978, when he first returned to the U.S. after many years of living in London and Tangier. Signed by William Burroughs and by Phillip Glass. Glass performed "New Piece for Electric Organ," which a teenage attendee -- Thurston Moore, later of Sonic Youth -- described as "idiosyncratic high-speed minimalist pianistics [which] was natural, gorgeous and sublime." Other participants included a virtual Who's Who of the American avant garde and underground: Brion Gysin, Patti Smith, Laurie Anderson, Kathy Acker, Timothy Leary, John Giorno. Ed Sanders, Allen Ginsberg, Anne Waldman, Merce Cunningham, John Cage, Terry Southern, Robert Anton Wilson, filmmaker Kathryn Bigelow and others. Keith Richards was listed but didn't appear; Frank Zappa filled in by reading "The Talking Asshole" from Naked Lunch. Robert Palmer reviewed the event for the New York Times and wrote that the Glass piece was "as conservative in its language and as rigorous in its organization as Mr. Burroughs's first novel, 'Junkie,'" and that Patti Smith's "was more in the tradition of the cut-ups; it celebrated attitude, style, and the kind of 'holy accidents' that visionary artists have long cultivated." At least two films of the event have been released, and one record album and cassette, and portions of it have been restaged over the years: it was self-consciously understood by the participants to be a landmark of its time. The cover prints a seven-line quote from Burroughs, which as usual seems to anticipate the future -- our present -- in terms practically no one but he would have come up with, about surviving the age of Nova, "with Nova conspiracies, Nova criminals, and Nova police" and a "new mythology in the Space Age, where we will again have heroes and villains, as regards intentions towards this planet." Twelve pages; fine in stapled wrappers. An uncommon and ephemeral piece documenting a major cultural event, seldom found signed by the central figure of the convention, and here also signed by one of the performers, himself a major American composer. [#033218] $1,750
(BURROUGHS, William S.). FRAJNDLICH, Abe
ca. 1983-84. Six black and white photographs (not stated but) by Abe Frajndlich, of William Burroughs, or parts thereof: two photos of Burroughs seated inside at a desk; two photos of Burroughs outside in a trench coat and hat; one photo of Burroughs' coat, hat and cane on the floor next to a baseboard heater; one photo of Burroughs' hands as he signs a copy of The Place of Dead Roads. Each photo is 8-1/2" x 11"; faint staining to a few margins, else fine. Frajndlich is known for his portraits of photographers, and of others involved in the arts. [#033147] $2,000
NY, Sheep Meadow Press, (1978). The hardcover issue of this collection of poems by the National Book Award-winning poet. Inscribed by Carruth: "To Jim [James Tate] - Good to find you - Hayden." From the library of James Tate, himself a National Book Award-winning poet as well. Mottled boards; very good in a near fine, price-clipped dust jacket. [#033265] $100
(West Hartford), (U. of Hartford), (1988). A photocopy of the typescript of the untitled speech Carver gave when he received an honorary Doctor of Letters degree at the University of Hartford. The typescript differs from the published version in paragraphing and in the deletion of one 17-word clause, which has been circled in ink on the photocopy -- thus providing an earlier view of the text of the speech than that which was published in the program of the Commencement (a copy of which is included here). The typescript is near fine; the program is fine. [#004067] $350
WIATER, Stanley and BISSETTE, Stephen R.
(Grass Valley), Underwood, (1997). "Conversations with the creators of the new comics," i.e. interviews with them by Wiater and Bissette. Wiater is a three-time winner of the Bram Stoker Award from the Horror Writers Association, and this is one of the first attempts to put the "new comics" in historical context. This is the deluxe limited edition, one of 750 copies, and is signed by Neil Gaiman, Frank Miller, Alan Moore, Dave McKean and Dave Sim. Other interviewees include Denis Kitchen, Harvey Pekar, Rick Veitch, Frank Miller, Howard Cruse, Colleen Doran, and many others. Samples of their comic art accompany each of the interviews. Fine in a fine slipcase. [#033444] SOLD
Princeton, Kitchen Sink Press, 1991. The sixth issue of this alternative comics anthology, signed by contributors Doug Allen, Skip Williamson, John Petrie, Daniel Gillespie Clowes, and Monte Beauchamp. The theme of this issue is alcohol and alcoholism, with illustrated stories and comics by more than a dozen writers and artists. Clowes illustrated Petrie's and Beauchamp's piece on alcoholic cartoonists -- an early work for him. Light general wear; near fine in wrappers. [#033208] $150
NY, Knopf, 1993. First thus, the gift edition. Signed by the author, and including 12 full color illustrations. Bookplate of another writer on the front flyleaf; near fine, lacking the printed acetate dust jacket. [#033445] SOLD
(n.p.), (n.p.), (n.d.). The poet E.E. Cummings considered writing and painting to be his "twin obsessions." He received substantial acclaim as an American cubist and abstract avant garde painter between the two World Wars. during which time he served as art editor of The Dial. In 1931, he published a limited edition volume of his artwork entitled CIOPW, named for the media he used: charcoal, ink, oil, pencil, and watercolor. After growing disenchanted with the New York gallery scene, he retreated to painting as a private matter, focusing mostly on landscapes (the White Mountains); portraits (his wife, Marion Morehouse); and nudes and still lifes. This color study, oil on cardboard, is a rare return to his non-representational days. 14" x 8-1/2". Matted and framed to 22" x 17". Unsigned, as was the majority of his work. Fine. Letter of provenance available. [#031623] $3,500
ca. 1926. Cummings' handwritten draft of this poem: nearly 150 words, with much reworking evident: the poem was eventually published in his book Is 5, with perhaps an additional 50 words and a further reordering of the sentences. Written on the verso of an ink drawing by Cummings, of the highly inhabited seaside mountaintop of what appears to be Chalcis, Greece. This sketch was published in Cummings' 1931 book of his collected artwork, CIOPW. 7-3/4" x 5". Two corners and one edge chipped: brown and fragile; very good. [#018055] SOLD
DE ANGELI, Marguerite
(n.p.), (n.p.), ca. 1939. A hand-lettered and hand-illustrated draft title page and a hand-illustrated typescript first page of de Angeli's 1939 book Skippack School: Being the Story of Eli Shawder and of one Christopher Dock, Schoolmaster About the Year 1750. Signed by the author. De Angeli wrote and illustrated dozens of books, including her 1950 Newberry Award winner The Door in the Wall. Two of her books were also Caldecott honor winners, the award given to illlustrated children's books, in 1945 and 1955. This title was based on the life of Mennonite educator Christopher Dock, who taught in Skippack, Pennsylvania. From the collection of Mabel Zahn, longtime proprietor of Sessler's, the legendary rare book shop in Philadelphia. Letter of provenance available. The two pages are in a contemporary frame whose cloth mat exhibits foxing; the backing of the frame is brittle and chipped; the manuscript pages appear to be fine. [#033446] $1,250
(NY), Ecco, (2016). The advance reading copy of this collection of "narrative essays old and new." Stray pencil mark to cover, else fine in wrappers. Uncommon: advance copies -- so-called "galleys," in the contemporary vernacular -- have always been scarcer than the corresponding trade editions, usually issued in hundreds of copies versus thousands for the published editions. But in the past couple of decades, since the start of the digital age, they have gotten even scarcer, as many of the marketing purposes they were used for are now accomplished using digital media and online resources. [#033373] $100
(NY), Delacorte, (2009). Both the advance reading copy and the first edition, each signed by the author, one of the most highly regarded of the current crop of hardboiled and neo-noir writers, along with such writers as Megan Abbott and Duane Swierczynski and some others, who have been breathing new life into the genre in recent years. The book is fine in a fine dust jacket; the advance copy is near fine in wrappers. [#033374] $125
Boston, Godine, (1988). An uncorrected proof copy of this collection of stories by the late master of the form. This is presumably the first issue proof, in yellow wrappers, without reviewer blurbs, and erroneously featuring the 13 stories not indicated as being part of the "ten tales for reviewers" that are promised on the front cover and asterisked in the Table of Contents. Signed by Dubus. Fine in wrappers. [#033259] $125
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