Catalog 175

(n.p.), (n.p.), 1994. The manuscript of Bowden's memoir of his friendship with Edward Abbey. This is a 96-page photocopied typescript (computer printout), bearing approximately three dozen editorial corrections in pencil. Abbey died in 1989; Bowden died in 2014: this 1994 memoir was found on Bowden's computer after his death and published (with a different subtitle) by the University of Texas in 2018. Bowden's nonfiction focused on the Southwest, both the natural world and the political and social worlds created by the humans who dwelt there. As such, a memoir of Edward Abbey, whose work combined natural and social history, was a fitting subject for Bowden, who in some ways was following in Abbey's footsteps, although sometimes delving deeper into the social dimensions than Abbey did, in particular with the criminal subcultures of the Mexican cartels. A rare prepublication format, and a work-in-progress. Loose pages; fine. [#036188] SOLD

Buffalo, Presence Press, 1968. Four short untitled poems, of a sexual nature, by Acker, in the third issue of this "Magazine of the Revolution," edited by Dan Connell. We found several copies of the first issue of the magazine in OCLC, but no copies of this issue. Stained at the spine base; still near fine in stapled wrappers. Precedes Acker's first book by four years. [#035092] $450
On Sale: $293

1996. A promotional poster for the annual Toronto literary festival, which each year since 1980 has brought together some of the best writers of contemporary world literature. This poster is one of only a handful of copies signed by all or most of the year's participants, approximately 70 signatures. Signed by: Nicholas Shakespeare, William Gibson, William Kotzwinkle, Kathy Acker, Sherman Alexie, W.P. Kinsella, Lynne Reid Banks, Louis Begley, Marie-Claire Blais, Isabel Colegate, William Gass, Matt Cohen, Maeve Binchy, Hershel Parker, Mavis Gallant, Janette Turner Hospital, Susan Sontag, Tobias Wolff, D.M. Thomas, Kazuo Ishiguro, Timothy Findley, Lawrence Block, Al Purdy, Paul Quarrington, Ruth Rendell, Joan Mellon, Nicholas Jose, Oksana Zabuzhko, Lorna Crozier, and many others. From the collection of the promoter of the festival, Greg Gatenby. Designed by Arnaldo Pomodoro. 17" x 24". Fine. [#029752] $1,000

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

(North Andover), Kat Ran Press, 1998. Autobiographical poems by the Dominican-American author of How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, among others. With lithographs by Sara Eichner. One of 50 numbered copies of a total edition of 65 signed by the author and the artist. Hardbound in handmade flax paper by David Bourbeau of the Thistle Bindery. 11-1/2" x 16-1/4". Fine, in the original clamshell case, with a bit of dust soiling, with publisher's prospectus laid in. An attractive volume. [#914607] SOLD

1971. From the estate of Pauline Kael, this is an original Avedon print, titled and signed by the artist in 1971. Richard Avedon began his career as a fashion photographer in 1945, and he came to be known as the preeminent contemporary American portrait photographer. This image, of the one-time lovable Little Tramp posing as the Devil on his last day in the U.S., is one of Avedon's most famous, and one of the most famous images of Chaplin. Chaplin, who had long sought teenage girls as his lovers and wives, was hounded by years of persecution for his sexual proclivities and his left-leaning views. In 1944 he was involved in a high-profile scandal when he was indicted on charges involving a young actress he had brought to California and, although he was exonerated on all counts, the negative publicity began a series of events culminating in his voluntary exile from the U.S. eight years later. In addition, the FBI had stepped up its investigations of him as a result of his public statements in support of Russia and Soviet Communism. In 1952, when Chaplin left for England to promote his film "Limelight," the U.S. Attorney General used the opportunity to revoke his re-entry permit (Chaplin had never been an American citizen) unless Chaplin agreed to even more scrutiny of his private life. Chaplin opted to settle in Switzerland with his third wife, Oona O'Neill (daughter of Eugene O'Neill). This Avedon image is the final image of Chaplin in America and a pointed reference to his demonization by the American press and government. Pauline Kael's first film review, in 1953, was of Chaplin's "Limelight." She didn't like it, and it launched her career. 19-3/4" x 15-1/2". Dry mounted on board, and matted. Near fine. [#017958] $6,000

London, BBC/Penguin, (1972). Berger's influential art text, based on the BBC series of the same name, which popularized the deconstruction of art and advertising, particularly as applied to the ways that women are seen, and are subjected to what would later come to be called (by Laura Mulvey) "the male gaze," i.e., "...Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves." Ubiquitous in reprints; the true first is scarce. Very light wear to covers; near fine in wrappers. No hardcover edition was done until the U.S. edition a year later. [#035285] $500

(Jamaica), (Jamaica High School), (1927). From 1926-1928, Bowles had 43 contributions in 14 issues of his high school magazine, The Oracle, corresponding to items C1-C43 in Jeffrey Miller's Paul Bowles: A Descriptive Bibliography. This issue, the Christmas issue, is from Bowles' senior year and predates his first book, Two Poems, published in 1933, by six years. Bowles' contributions (Miller C36-C40) include three poems ("Night Song at Papua," "Scene," and "Pursuit"; a translation of a Devigny extract from the French; and serving at editor of the Poet's Corner. Owner name in pencil on the front cover; edge-darkening to covers; still near fine in stapled wrappers, with the middle sheet loose from the staples. Very uncommon early works by Bowles, more than 20 years prior to his first novel, The Sheltering Sky. [#036212] $1,250

(Jamaica), (Jamaica High School), (1928). The final issue of The Oracle that Bowles would appear in, before graduating from Jamaica High School. Contains (from Jeffrey Miller's bibliography) C41-C43: two poems ("Tailpiece" and "Spire Song") and a credit as editor of the Poet's Corner. In addition, there are multiple references to Bowles throughout: lines describing his academic career; a prophecy for his future (he also chaired the prophecy committee, so perhaps wrote his own prophecy); a class chart that claims Bowles is a day dreamer who thinks he is a poet, would like to be a "futuristic artist," is often seen with a dazed expression, and whose hobby is literature. His class photo appears on page 11. There is a page for autographs that has one signature; the innermost pages have separated from the staples and are laid in. Edge-sunning to covers; very good in stapled wrappers. [#036213] $1,500

(London), Bridgewater Press, (2000). Of a total edition of 138 copies, this is copy VII of 12 Roman-numeraled copies bound in quarter Library Calf, with a signed original drawing by Boyd, tipped in as frontispiece. Signed by the author. Fine. [#914614] $750

(NY), Bernard Geis, (1962). "The Unmarried Woman's Guide to Men, Careers, the Apartment, Diet, Fashion, Money and Men." (Yes, "Men" twice.) Advice from the long-time editor-in-chief of Cosmopolitan (1965-1997), published three years after she became a married woman, at age 37. The book became a bestseller and the basis for a 1964 film with a screenplay by Joseph Heller. It dared to separate sex from marriage and (two years after FDA approval of the pill) from motherhood, while still remaining enthralled by subservience to male desire. This copy is inscribed by Brown: "For Wayne Thomas/ I can't think of anyone I'd rather be taken off the air with! Thank you for such a happy interview/ Love/ Helen Brown." Thomas was the off-camera announcer for the Hollywood edition of The Million Dollar Movie on KHJ TV; decades prior, Brown's first job was answering fan mail for the radio station KHJ. A fine copy in a very good, lightly rubbed dust jacket with modest edge wear. The epitome of second wave feminism. Uncommon in the first printing, let alone signed and with a good association. [#035339] $750

(n.p.), (n.p.), (n.d.). Typescript of two versions of "Meatball," a possibly unpublished poem by Bukowski. Signed by Bukowski, with a drawing of a boxer on page 1, and "I prefer shorter version" and a few additional pencil notes (not by Bukowski) on page 3. Five pages total, corner stapled, with Bukowski's name and address in the upper left corner of the first page. Near fine. [#035287] $2,500

Berkeley, Print Mint, 1973. This issue of Arcade includes Bukowski's "Bop Bop Against That Curtain," illustrated by R. Crumb. Signed by Bukowski on the front cover. Other contributors to this issue include Art Spiegelman, S. Clay Wilson, Spain [Rodriguez], and Aline Kominsky [Crumb], among others. There is also a 5-page comic solely authored and illustrated by Crumb. A Who's Who of underground comix, with a rare Bukowski signature. Fine. [#035290] $650

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

1988. An original Burroughs painting, which became part of the Seven Deadly Sins exhibition at The Writer's Place, Kansas City, Missouri, in 1993. Acrylic and spray paint on poster board: a gold triangle and heart spray-painted against a background acrylic image of black, blue and gray. Signed by Burroughs. 20" x 32". Mounted and framed to 24" x 36". Fine. Burroughs, whose Naked Lunch, Soft Machine, and numerous other works helped define the Beat generation and redefine the psychedelic novel, also worked in the visual media from the early 1950s on, experimenting first with collages and later with what he called "nagual art" -- art infected by chance, which had the possibility of giving the viewer access to what Burroughs called a "port of entry," an access to a different universe or a different way of seeing our own. In writing, Burroughs adopted the "cut-up" technique, with Brion Gysin, to achieve similar ends: a final product that was, in part, a product of chance or, at the very least, forces beyond the artist's direct control and manipulation. [#024825] $7,500

1988. An original drawing by Wilson for Burroughs' 1989 book Tornado Alley. This image was included in the exhibition "Ports of Entry: William Burroughs and the Arts" that was mounted by the Los Angeles County Museum of Art in 1996, and it is reproduced on page 140 of the exhibition catalog. Interestingly, the illustration in the book does not show some of the work that Wilson did, as it was done using nonrepro blue pencil which does not show up when photographed: Wilson's edits didn't appear in Tornado Alley and they don't appear in Ports of Entry, but they are quite visible in the work itself. Wilson, one of the great artists of the underground comix of the 1960s and beyond, whom R. Crumb has said was a major influence on Crumb's own work, collaborated with Burroughs on a number of projects. This is not only a significant work of art, and a significant association with Burroughs, but it is also signed by Wilson, who has added, "To Nelson" next to his signature: Wilson gave this work to his friend Nelson Lyon, who loaned it to the exhibition and is listed in the book as one of the lenders to the exhibit. This is, in effect, a three-way association: Nelson Lyon was the co-producer of Burroughs' Dead City Radio, a 1990 album of Burroughs reading his work (including pieces from Tornado Alley) against a background of experimental music by various artists. 9-3/4" x 6-3/4". Matted and framed. Fine. A notable association copy, and an artifact of one of the great collaborations that Burroughs engaged in. [#028091] $7,500

1982. A typed letter signed by Butler to poet Tom Clark, regarding Clark's review of Butler's first book. In 1981, Butler, who would later win the 1993 Pulitzer Prize for his collection A Good Scent from a Strange Mountain, published his first book, The Alleys of Eden. It was reviewed by Clark in the February 11, 1982 Los Angeles Times, with the headline "Vietnamization of a Deserter's Mind." On May 12, Butler wrote to Clark, saying, in part: "I have received twenty major reviews of the book but none of them was more sensitive or insightful than yours. The best literary criticism actually explains an author to himself. That's what your review did. I understand my own book better after reading your review and I want to thank you for that." The letter is signed "Bob Butler." Included here is Clark's original, 3-page manuscript review, signed by Clark: "...Desertion, Butler seems to say, is an inevitable act, made necessary by the human state. Every small movement is an abandonment of the past, with death looming over everything as the greatest desertion of all..." Clark's review makes it clear that Butler's protagonist -- an Army intelligence officer who ends up deserting out of self-disgust over his involvement in the torture and death of a Viet Cong prisoner -- is an analogue for the larger society, which deserted both Vietnam and those who fought there, leaving both the Vietnamese and the veterans as "displaced persons," in both countries. Clark's review is penned on the back of copies from a book about Celine and folded in half; near fine. A photocopy of the published review is included, as is a first edition of the book [NY: Horizon (1981)], which is fine in a near fine dust jacket. Butler's letter is folded for mailing; else fine in a near fine envelope. An insightful review of one of the best novels to come out of the Vietnam war, and the author's appreciative response. [#024022] $1,500

1933. An autobiographical piece about Cain's family following his father's 1903 job change from St. John's College at Annapolis to Washington College at Chestertown, MD, and the culture shock that ensued from this move to a "hick place" from one of "smartness, competence, and class," a state of affairs that was partially redeemed by the actions of "a great man" on the occasion of a Washington College-Maryland Agricultural College football game. 23 pages, carbon typescript, with approximately three dozen changes made in Cain's hand, and more than a dozen additional small variations between this text and the published version. Published in American Mercury in November 1933, the year before his first novel, The Postman Always Rings Twice (and following Our Government in 1930, nonfiction based on Cain's column for New York World). Called "one of Cain's finest essays" by David Madden in James M. Cain: Hard-Boiled Mythmaker. Carbon paper a bit yellowed, some pencil rubbing, not affecting text; near fine. An early manuscript of a boyhood epiphany by a writer who gained a place in the literary pantheon for his famous first novel, which is still considered one of the high spots of American hard-boiled fiction. [#029577] $2,500

London, Collins, 1956. The first English-language edition of Calvino's first book, translated from the Italian by Archibald Colquhoun and inscribed by Colquhoun in the year of publication. Colquhoun also translated or co-translated several of Calvino's later books, such as The Cloven Viscount, The Baron in the Trees, The Nonexistent Knight, The Watcher, Difficult Loves, Our Ancestors, and Adam, One Afternoon. Tiny corner bumps; a near fine copy in a very good dust jacket with slight spine fading, light chipping to corners and crown, and a small creased edge tear. [#023168] $650

(Santa Cruz), (Kayak Books), (1970). The rare white issue of Carver's first regularly published book (after Near Klamath, published by the English Club of Sacramento State College). Kayak Books was a small but established publisher, which produced a literary magazine as well as issuing books of poetry. Winter Insomnia is a collection of poems, designed and printed by George Hitchcock and illustrated with prints by Robert McChesney. Issued in an attractive edition of 1000 copies, the overwhelming majority (perhaps more than 99%) were issued in yellow wrappers. William Stull's Carver checklist said that three copies were known in the white wrappers. Since that checklist was published, we have seen three more copies in white wrappers, including this one, bringing the total number of known copies to six. Without knowing exactly how many white copies there were, we can say with assurance that this issue is exceedingly scarce; we've seen dozens, if not hundreds, of the issue in yellow wrappers. This copy is inscribed by Carver: "For Rush - with good wishes. Ray Carver. 3-3-83." Spine and edge sunning to covers; near fine. [#914629] SOLD

NY, Random House, (1985). Inscribed by Carver to Robert Stone: "For Bob, with hopes you'll find some of these to your liking. With love, Ray. Port Angeles. July 22, 1985." An excellent personal and literary association copy: Stone visited Carver at his home in Port Angeles, Washington, a couple of times, and the two got on well, went fishing together, and generally found a quick and easy rapport. Stone called Carver "the best American short story writer since Hemingway" and, speaking at Carver's memorial service, Stone borrowed a line from his own essay on Chekhov, the writer to whom Carver has most frequently been compared, and called Carver "a hero of perception." This is a collection of poetry. Mild foxing; near fine in a very good, partially faded dust jacket with one short edge tear and a creased front flap. [#033665] SOLD

1993. A promotional poster for the annual Toronto literary festival, which each year since 1980 has brought together many of the best writers of contemporary world literature. One of only a handful of copies signed by all or most of the year's participants, approximately 61 signatures. Signed by: Paulo Coelho, William Vollmann, Jane Urquhart, Bobbie Ann Mason, Bharati Mukherjee, Aidan Mathews, Peter Levi, Marilyn Davis, Carol Shields, Ruth Rendell, Mavis Gallant, Barry Callaghan, Rose Tremain, Peter Mayle, Walter Abish, Robert Stone, Priscilla Juvelis, Paul Auster, Barry Unsworth, Rosa Lixsom, Vikram Seth, Austin Clarke, Bapsi Sidhwa, Joan Riley, Yves Beauchemin, James Mackey, Daniel Mark Epstein, and many others. From the collection of the promoter of the festival, Greg Gatenby. Designed by General Idea, a collective of three Canadian artists, two of whom died of AIDS in 1994. 17" x 22". Fine. [#029749] $1,000

(Wilmington), (Totleben & Bissette)/[Spiderbaby Grafix], (1988). An advance copy of the first issue of Taboo, a landmark comix/graphic novel anthology, inscribed by the editor (Totleben), with the written note "#3.5 in 25 preview copies." Tapebound 8-1/2" x 11" galley sheets, with a handwritten "Taboo!" label on the front cover. Contributions by Clive Barker, S. Clay Wilson, Alan Moore, Chester Brown, Charles Burns, Eddie Campbell, Charles Vess, Dave Sim, and others. Taboo published edgier graphic fiction than could be done by mainstream presses, including Alan Moore and Chester Brown's From Hell, and work by Charles Burns, famous for his later graphic novel Black Hole. Front label lifting; ownership stamps; else fine. Together with an 8-page solicitation of contributions dated the previous year, delineating the guidelines and the vision. Again, an ownership stamp; near fine with one corner stapled. Together with the published version of the first issue, inscribed by Totleben and the publisher, Stephen Bissette, as well as Taboo 2 and Taboo 3. A notable collection, particularly with the advance copy -- a handmade production apparently limited to 25 copies but doubtless far fewer still exist. [#030703] $750

Boston, Ginn & Co., 1903. The first book by the eminent artist, educator and naturalist, and the first female professor at Cornell University. This is a collection of eight pieces published in periodicals, with two new pieces, all designed to depict, "in some measure, the dignity of life's upward struggle, however humble the incarnation." This copy is inscribed by Comstock, "To Dr. Douglas Houghton Campbell/ With best regards of the author [no name]." Campbell was the founding head of the botany department at Stanford University. Very slight wear to the board edges, else a fine copy. [#035989] SOLD

London, Mandrake Press, [1929]. A collection of three stories, issued in the series "Mandrake Booklets." Owner name, address, and 1930 date on the front flyleaf. Near fine in a very good, spine-darkened dust jacket. Rare: we find only one copy listed in OCLC WorldCat. [#034870] $750

[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, which was not published until 2021. A 24" x 37" poster, with art by Peter Milton, whose haunting drawings, etchings, engravings and prints 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 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

Reclining nude (likely Marion Morehouse), with a floral, wave-like background. Oil on canvas. 43" x 20". Undated. The canvas had been rolled for storage, with some loss of paint, but it has since been expertly restored by Julian Baumgartner and stretched on to a wood frame. Fine. [#036307] $20,000

A self-portrait of the poet/painter, in profile, with cigarette. Colorful background, and matching tie. Oil on canvas. 18" x 20". Undated. LPC# 696: after the deaths of both Cummings and Morehouse, Cummings' daughter Nancy left the body of his artwork to the Luethi-Peterson Camps, a New Hampshire non-profit that operated summer camps for the promotion of international understanding among children. The canvas had been rolled for storage, with narrow bands of partial paint loss, but it has since been expertly restored by Julian Baumgartner and stretched on to a wood frame. Fine. [#036318] SOLD

NY, [The Democratic Party], 1888. The Democratic Party Platform, as adopted in St. Louis on June 7, 1888. Grover Cleveland was running for re-election, against the Republican Benjamin Harrison: Cleveland won the popular vote, but lost in the Electoral College. (Cleveland would win a rematch, in 1892.) This pamphlet puts forth the ideals of the Democratic Party at the time, including: childhood education; the rights of organized labor; the separation of church and state; the equality of all citizens without regard to race or color; the reform of unjust tax laws that unduly enrich the few; the end of the sale of public lands to benefit corporations rather than settlers; the reigning in of tariffs; the admission of Washington, Montana, Dakota and New Mexico into the Union; and supporting the blessings of self-government and civil and religious liberty for all nations. The platform reaffirms the rights of native and naturalized citizens, but takes a hard line against the importation of "unfit" foreign labor. One sheet, folded to create a 12 page pamphlet, 3 3/8" x 5 3/4". Foxed, and fragile; about very good. Only two copies located in OCLC, at NYPL and Pittsburgh State University. [#034697] $1,000

1975. A letter dated January 27, 1975 and written to Paul [presumably Paul Williams, Dick's close friend and eventual biographer] transmitting chapter one of Confessions [of a Crap Artist] (not included here) and, included here, two pages of "theological ramblings" related to Dick's "beginning to fashion a scientific theory about [his] theological experiences..." The letter covers a bit about the retrograde forces such as tachyons bleeding back at Earth due to the weakening field of time; one of the two pages of notes considers humans' (and Dick's) roles as avatars, with knowledge received from the Holy Spirit; the other page considers our inability to recognize God and postulates a "SF novel: Hefestus as VALIS" -- a very early mention of the acronym Dick developed for the "Vast Active Living Intelligence System" that he considered to be the nature of reality and the universe, after his psychological/religious epiphanies that he experienced in February and March of 1974. The theological writings are from the early pages of what came to be known as his Exegesis, which, by the time of his death in 1982, had reached over 8000 pages of religious and metaphysical insight and speculation. The letter, signed by Dick, runs about 225 words; the theological musings about 950 words. Near fine. [#032866] $8,500