Catalog 92, B

NOTE: This page is from our catalog archives. The listings are from an older catalog and are on our website for reference purposes only. If you see something you're interested in, please check our inventory via the search box at upper right or our search page.
26. BABITZ, Eve. Eve's Hollywood. (n.p.): Delacorte/ Seymour Lawrence (1974). The author's first book, "a confessional L.A. novel" that is more of a memoir and coming-of-age account than a novel per se, and is one of the earliest books to take advantage of the new sexual frankness for women that was enabled by the fledgling women's movement in the early 1970's. Signed by the author. Fine in a near fine dust jacket. Jacket and frontispiece photographs by Annie Liebovitz.

27. BABITZ, Eve. Slow Days, Fast Company. NY: Knopf, 1977. Her second book, again a collection of confessional tales of Los Angeles. Dramatically inscribed by the author, "To ____/ Without you/ I (we) would be nothing/ Love/ Eve Babitz/ xoxoxo." (Presumably) the author's lip prints superimpose the inscription. Fine in a fine dust jacket.

28. BARRETT, Andrea. Secret Harmonies. (NY): Delacorte Press (1989). The second book, and first hardcover publication, by the recent winner of the National Book Award. Fine in a fine dust jacket and signed by the author.

29. BARRETT, Andrea. Ship Fever and Other Stories. NY: Norton (1996). Her latest book, a surprise winner of the National Book Award. Fine in a fine dust jacket and signed by the author.

30. -. Same title, the advance reading copy. Fine in wrappers, with publisher's promotional material laid in.

31. BARTHELME, Donald. The Slightly Irregular Fire Engine. NY: Farrar Straus Giroux, 1971. Thin quarto. Barthelme's only children's book, and his only book to win the National Book Award. Imaginative and nonlinear, like looking for a fire engine in a Chinese house. With collage illustrations made from nineteenth century wood engravings. Fine in a near fine dust jacket with an open tear at the crown. An attractive copy of a book that, because of its size and its unlaminated dust jacket, most often shows up in poor condition.

A Collection of Richard Bausch, Inscribed to His Publisher

N.B. The following books, and a number of others in this catalog, come from the library of Seymour Lawrence, longtime editor and publisher of many of the most respected authors of the last 40 years. Lawrence, who had his own imprint at a number of different publishing companies over the years, was known for nurturing young writers and helping them bring out the best writing they could do. He engendered fantastic loyalty among the writers he worked with, many of whom changed publishers each time he moved to a different house, in order to stay with Lawrence. "Sam" Lawrence, as he was called, was the closest postwar approximation to legendary editor Maxwell Perkins, who was famous in the 1920's and 1930's for nurturing such young writers as Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolfe from obscurity to the top rank of American, and even world, literature. Both Perkins and Lawrence were lovers of good writing and capable of helping their writers technically. In addition, they both had a canny sense of the publishing marketplace--how to get a book out to the readers to whom it would matter. And they both were devoted to their writers, staying in constant touch, giving constant support, even as they were exercising their critical function in helping them shape their work. Their faith in their authors engendered an equal, reciprocal faith the authors had in their editors, and many of the inscriptions in this catalog reveal an appreciation and gratitude on the part of the authors for Lawrence's unwavering commitment to them, and his excellence at what he did--helping bring out the best in them, and then getting their work successfully out into the marketplace. It is hard to imagine a better set of association copies of the books of these modern authors, short of the dedication copies, than these copies inscribed to their publisher. Authors include Bausch, Thomas Berger, J. P. Donleavy, Jim Harrison, Barry Hannah, Tim O'Brien, Jayne Anne Phillips, Richard Yates, and others. In all, an exceptional run of fine association copies by some of the most collected authors of the past 40 years.

32. BAUSCH, Richard. Violence. Boston: Houghton Mifflin/Seymour Lawrence, 1992. Inscribed by the author to Seymour Lawrence in 1991: "For Sam, with gratitude/ & awe, for the world's best/ publisher -- and it has been fun." One slight corner bump; fine in a very near fine dust jacket with trace wear at the extremities.

33. -. Same title, the uncorrected proof copy. Also inscribed to Seymour Lawrence in 1991. Corner of first couple pages wrinkled; else fine in wrappers. Uncommon: because of the advance reading copy that was done of this title, there appear to have been fewer proofs than usual of it.

34. -. Same title, the advance reading copy. Inscribed by the author to Seymour Lawrence: "For Sam,/ who has shown me in/ five short months more about/ the art of publishing, than anyone/ else has in the 10 years I've/ been writing books. With/ awe & admiration -/ Richard Bausch/ 1991." Fine in wrappers.

35. -. Same title, the first Vintage Contemporaries edition (NY: Vintage, 1993). Signed and additionally inscribed by the author: "This book is inscribed to the best of all publishers, by the widest/ margin -- it is given in dedication to his talent, to his devotion to American writing and to writers. I am a grateful & happy writer/ who enjoys twice the audience I once had, because of that good man./ Love Dick 1993." Only issued in wrappers. Fine.

36. BAUSCH, Richard. Rebel Powers. Boston/NY: Houghton Mifflin/Seymour Lawrence, 1993. A well-received novel involving a family that comes apart in the aftermath of the Vietnam war. Inscribed by the author to Seymour Lawrence. Near fine in a very good dust jacket split at the upper front flap fold.

37. -. Same title, the advance reading copy. Inscribed by the author to Seymour Lawrence: "This advance copy/ of my sixth novel/ by/ Richard Bausch/ is for the great and/ powerful wizard of Houghton/ & formally of Delacort [sic],/ who is/ the finest publisher in the big and/ not always honorable history of/ publishing and whose allegiance/ to writers & to American writing/ is nonpareil -- with love from/ one of the fortunate ones he has/ given his mind & heart to/ in this business./ 1993." As fine and revealing an inscription as one could hope for. Fine in wrappers.

38. BECKETT, Samuel. Proust. London: Chatto & Windus, 1931. The first regularly published book by the author of Waiting for Godot, whose postwar writings helped reshape contemporary literature, introducing what came to be called the Theater of the Absurd, and eventually leading to his winning the Nobel Prize in 1969. This is a critical study of Marcel Proust. Signed by the author in January, 1933. A small, fragile volume. Mild staining to spine; wear to rear joint; light pencil erasures front endpapers; very good in a spine-darkened dust jacket with several edge tears, light chipping at the crown and a few tiny holes. An uncommon volume that is very scarce signed, and exceptionally so with a dated signature from near the time of publication.

39. BECKETT, Samuel. Murphy. NY: Grove Press (1957). The first American edition of his first novel, originally published in 1938, this being the limited edition, one of 100 numbered copies signed by the author. Mild foxing to top edge; else fine in a near fine original acetate dust jacket chipped at the crown. An attractive copy of a scarce and important first novel.

40. BECKHAM, Barry. My Main Mother. NY: Walker and Company (1969). A review copy of the first book by this African-American writer. Inscribed by the author in 1970. Fine in a near fine dust jacket, with review slip, photo and promotional material laid in.

41. -. Same title, the first British edition (London: Allan Wingate, 1970). Inscribed by the author. Small bump at lower board edges; very near fine in like dust jacket. Laid in is an article Beckham wrote for Esquire, "Listen to the Black Graduate, You Might Learn Something."

42. BECKHAM, Barry. Runner Mack. NY: Morrow, 1972. A review copy of his second book, a highly acclaimed baseball novel that uses the odyssey of an aspiring black baseball player during the years of the Vietnam war as a metaphor for the aspirations of blacks throughout American society, and throughout American history, and the obstacles they have faced. Inscribed by the author in 1974. Fine in a fine dust jacket.

43. (BELLOW, Saul). "Mr. Katz, Mr. Cohen and Cosmology" in Retort, Vol. 1, No. 2. Bearsville: Retort, 1942. A seven page story by Bellow in this left-leaning journal of "Social Philosophy and the Arts." This issue also contains a poem by Robert Lowry and another by Sheila Alexander in response to a news item that Nazi food rations contain Benzedrine sulphate and marijuana. Ink name and notes to rear cover; general surface soiling and some spine-sunning; still very good in stapled wrappers. An early appearance by Bellow, preceding his first novel, which is erroneously listed in the contributors' notes as being published by Colt Press (it was actually published two years later by Vanguard).

44. BENEDICT, Pinckney. The Wrecking Yard. NY: Doubleday/Talese (1992). The second collection of stories by the author of Town Smokes, and his first hardcover publication. Fine in a fine dust jacket.

45. BENEDICT, Pinckney. Dogs of God. NY: Doubleday/Talese (1994). Well-received novel touted as "a cross between Barry Hannah and Cormac McCarthy." The author's third book, first novel. Fine in a fine dust jacket.

46. BERGER, John. And Our Faces, My Heart, Brief as Photos. NY: Pantheon Books (1984). Uncorrected proof copy of this collection of essays and reminiscences by the author of Ways of Seeing and To the Wedding. Fingerprints page 72; near fine in wrappers.

47. BERGER, Thomas. Little Big Man. NY: Dial, 1964. The author's third and most famous novel, a tragicomic history of the American West, which was immortalized on film. Little Big Man won the Richard and Hilda Rosenthal Foundation Award of the American Academy of Arts and Letters, an award that is given for a work that, while not being a commercial success, is nonetheless a substantial literary achievement. This copy is inscribed by the author to Seymour Lawrence: "To Seymour Lawrence/ republisher of this novel/ and great friend to the/ career of/ Thomas Berger." Fifteen years after this novel was first published, Lawrence--who was by then Berger's publisher--reissued it [see below], an extremely uncommon event in contemporary American publishing--one that is usually reserved for bestselling classics like To Kill a Mockingbird or The Grapes of Wrath; despite the good reviews and the movie made from this title--and the fact that it went into a second printing--Little Big Man was very definitely not a bestseller, and the Rosenthal award is specifically in acknowledgement of that fact. The re-publication of the novel is, once again, evidence of Lawrence's support for his authors--the special efforts he made on their behalf, to support and promote their work. Fine in a slightly spine-faded dust jacket worn at the crown and rubbed at the folds; still about near fine, and better than most copies that turn up of this fragile title. A great association copy of a major American novel.

48. -. Same title, the Delacorte Press/Seymour Lawrence reissue (1979). Warmly inscribed by the author to Seymour Lawrence: "To Sam:/ A handsome book and/ a handsome gesture by/ its re-publisher!/ Thomas Berger/ 12 July 1979." Wrinkles to title page and first few pages; light spots to cloth; near fine in a near fine, spine-faded dust jacket.

49. BERGER, Thomas. Who is Teddy Villanova? (n.p.): Delacorte/Lawrence (1977). A foray into the realm of detective fiction. Inscribed by the author to Seymour Lawrence: "To Sam Lawrence, with/ admiration and gratitude,/ this first example of the/ many editions he would/ publish of my novels/ Thomas Berger/ 23 March 1993." Fine in a near fine dust jacket worn at the crown, creased on the front flap, and with one short edge tear.

50. BERGER, Thomas. Arthur Rex. (NY): Delacorte/Lawrence (1978). Berger's humorous take on the Arthurian legend. Inscribed by the author to Seymour Lawrence, his publisher, in the month of publication: "To the legendary/ Seymour Lawrence/ from the mythical/ Thomas Berger." Near fine in a very good spine-faded dust jacket with modest edgewear.

51. BERGER, Thomas. Neighbors. (NY): Delacorte/Lawrence (1980). A dark comedy, made into a moderately successful movie. Inscribed by the author to Seymour Lawrence in the month of publication: "To Sam, who has/ no near neighbor on/ his eminence!/ Thomas Berger/ 23 April 1980/ Palisades NY." Fine in a near fine, spine-faded dust jacket.

52. -. Same title, the publisher's copy, specially bound: leatherbound with raised bands, gilt stamping and marbled endpapers. There is no indication of how many copies might have been done, but in all likelihood there would have been very few--possibly only two: one for the author and one for the publisher. Fine.

53. BERGER, Thomas. Reinhart's Women. (NY): Delacorte/Lawrence (1981). The fourth of his novels to feature Carl Reinhart, beginning with his first two books--Crazy in Berlin and Reinhart in Love, written in the 1950's--and continuing with Vital Parts, published in 1967. Inscribed by the author to Seymour Lawrence. Near fine in a very good, spine-faded and edgeworn dust jacket.

54. BERGER, Thomas. The Feud. (NY): Delacorte/Lawrence (1983). Inscribed by the author to Seymour Lawrence in the month of publication. Fine in a spine-tanned dust jacket worn at the extremities; about near fine.

55. BERGER, Thomas. Nowhere. (NY): Delacorte/Lawrence (1985). Inscribed by the author to Seymour Lawrence: "Number Ten with my/ Number One publisher/ Sam Lawrence, with/ gratitude and warm/ regards/ Thomas Berger/ 1 June 1985." Near fine in a dust jacket worn at the spine extremities; else near fine.

56. BERGER, Thomas. Being Invisible. Boston: Little Brown (1987). Inscribed by the author to Seymour Lawrence in the month prior to publication: "To Sam, this/ rarest of my books --/ the only one that does/ not bear his name on/ the title page, alas!/ But I trust we're/ still friends./ With gratitude and/ affection/ Thomas Berger/ 26 March 1987." Fine in a very good dust jacket with a tear at the upper front gutter and offsetting to the front flap from the inscription.

57. BISCHEL, Peter. And Really Frau Blum Would Very Much Like to Meet the Milkman. NY: Delacorte Press/Seymour Lawrence (1968). The first American edition of this collection of short pieces by a young Swiss author, his first book published here. Translated by British poet Michael Hamburger. Inscribed by the author to Seymour Lawrence, who published the book. Small tears to front endpages; near fine in a near fine dust jacket.

58. BISHOP, Elizabeth. The Complete Poems 1927-1979. NY: FSG (1983). The uncorrected proof copy. Fine in wrappers.

59. (Book Collecting). AHEARN, Allen and Patricia. Collected Books: The Guide to Values, 1998 Edition. NY: Putnam's (1997). The latest edition of the standard guide to book values by the authors of Book Collecting. This volume updates their 1991 Collected Books, with values for more than 20,000 books and a section for identifying first editions. The Ahearns have put together the most useful single-volume reference books in the book trade. The listings in this guide include not only estimated prices but details regarding issue points where applicable, and a simple and coherent guide to assessing condition of old and/or rare books, one of the key factors that is often baffling not only to new collectors but even to experienced collectors and booksellers when operating outside of the field of their own expertise. This is probably the only book that virtually every dealer in the U.S. owns a copy of and is indispensable, both for dealers who must assess a wide range of material and for collectors who focus in one or a few areas. Just the changes in values since the last edition was published in 1991 are an invaluable reference and can easily repay the cost of the book. Together with the Ahearns' 1995 volume, Book Collecting--which contains the most succinct but substantive introduction to the field--this forms the most basic building block for a reference library for collecting rare books. An essential and unparalleled guide. New, at the list price.

60. BOWDEN, Charles. Stone Canyons of the Colorado Plateau. (NY): Abrams (1996). Quarto, heavily illustrated with stunning color photographs of the canyonlands. Text by Bowden; photographs by Jack Dykinga. Foreword by Robert Redford. Tiny smudges on title page, otherwise fine in a fine dust jacket. Signed by Bowden and Dykinga.

61. BOWLES, Paul. Up Above the World. NY: Simon & Schuster (1966). A review copy of his first novel since The Spider's House in 1955. Bowles is increasingly recognized as one of the most important members of the Beat generation and the postwar era in general and this is the last of his four novels. Sunning to cloth at the spine extremities; else fine in a near fine dust jacket. Author photo and review slip laid in, both signed by Bowles.

62. BOWLES, Paul. The Time of Friendship. NY: Holt Rinehart Winston (1967). A review copy of his second collection to be published in the U.S., 17 years after The Delicate Prey and nearly a decade after The Hours After Noon, which was only published in England. Near fine in a near fine dust jacket. Author photo and review slip laid in, both signed by Bowles.

63. (BOWLES, Paul). SAROYAN, William. My Heart's in the Highlands. NY: Harcourt Brace (1939). Review copy of this Saroyan play, for which Bowles composed the music to the title song, which is printed in the text and reviewed in the back as "probably good, too, being a little weird." This copy bears the (presumed) ownership signature of Eric Bently on the front flyleaf; below which is stamped "Review Copy" and publication information. A very good copy in two internally tape-repaired dust jackets, the best of which is only good. A very early appearance in print for Bowles--Miller B2.

64. BOYLE, T. Coraghessan. World's End. (NY): Viking (1987). His third novel, winner of the PEN Faulkner Award. Small faint stain to board and one slight corner bump; near fine in a fine dust jacket and signed by the author.

65. BRAUTIGAN, Richard. Lay the Marble Tea. San Francisco: Carp Press, 1959. Brautigan's extremely scarce third book, and his first collection of poems (his earlier two books were each a single poem). Published a year after his first book, The Return of the Rivers. A small pamphlet, printing twenty-four poems, with a cover illustration by Kenn Davis, and an epigraph by Emily Dickinson, from whom the title is taken. The edges of this copy are sunned, thus only a near fine copy. Signed by Davis. A rare Brautigan title, and a good association copy.

66. BRAUTIGAN, Richard. The Tokyo-Montana Express. NY: Delacorte/Lawrence (1980). The publisher's copy of this collection of short prose pieces, depicting stops on a mythical train route from Montana to Tokyo, imbued with Brautigan's characteristic gentle whimsy and humor. Bound in full leather with raised bands, gilt stamped, top edge gilt, and marbled endpapers. While it is not known how many copies would have been done in this way, a reasonable guess would be that there were only two--one for the author and one for the publisher. Indeed, while we have seen such bound copies of modern literary titles fairly often, they have always been in the authors' own collections, and we have only ever seen single copies of a given title. Near-unique, and thus one of the scarcest of all Brautigan items. Very slight rubbing at extremities of spine, but still fine.

67. BRINNIN, John Malcolm. Dylan Thomas in America. Boston: Atlantic Monthly Press (1955). Inscribed by the author to Seymour Lawrence, in part: "For Seymour,/ who knew it was a book long/ before I did, and whose assurances,/ encouragements and endless other/ kindnesses in the course of its writing/ and production have made me more/ fondly grateful than I can say/ John." A good inscription, expressing sentiments that recur throughout Lawrence's career as an editor and publisher and are indicative of the traits that endeared Lawrence to the authors he worked with. Board edges dinged; very good in a dust jacket with chipping at the crown and moderate edgewear--not quite very good.

68. (Broadsides). A Poetry Folio 1964. (San Francisco): (SF Arts Festival/East Wind Printers) (1964). A set of ten broadsides, 13" x 20", in a portfolio, issued in an edition of 300, most sets of which were signed by their authors. Includes Richard Brautigan's "September California," signed and Gary Snyder's "Across Lamarck Col," also signed. A fine set.

69. (Broadsides). Unicorn Folio, Series Two, No. 3. (n.p.): (Unicorn Press) (1968). A collection of attractive broadsides of various sizes, issued in an edition of 350 sets, of which this is number 34. Contributors include Charles Simic, Walter Lowenfels, Teo Savory, Jack Hirschman, James Laughlin, Anne Beresford, Vassar Miller, and others. There is a slight corner turn on the Miller piece, and the matted window on the Laughlin piece has come unglued from its background, but is present. This is otherwise a fine set of these attractive and fragile pieces.

70. BRØGGER, Suzanne. Deliver Us from Love. (n.p.): Delacorte/Lawrence (1976). First American edition of this book of nonfiction by a radical feminist from Denmark. Inscribed by the author to Seymour Lawrence: "To my dear publisher,/ Sam--who ran the risk --/ Cordially/ Suzanne/ New York Nov. 76." One corner bump; else fine in a near fine dust jacket.

71. BROOKS, Gwendolyn. The Bean Eaters. NY: Harper & Brothers (1960). Third collection of poems by this African American author, and her first after winning the Pulitzer Prize in 1950. Near fine in a dust jacket that is slightly spine-faded with a bit of soiling to the rear panel. Signed by the author.

72. BROOKS, Gwendolyn. In the Mecca. NY: Harper & Row (1968). A collection of poems by the Pulitzer Prize-winning author of Annie Allen among others. Fine in a fine, price-clipped dust jacket and signed by the author.

73. BROOKS, Gwendolyn. Riot. Detroit: Broadside Press (1969). A review copy of this three-part poem, published by a press which specialized in pamphlets by black writers and introduced a number of significant authors in the 1960s & 1970s. Signed by the author. Trace edge-rubbing; else fine in stapled wrappers.

74. BROOKS, Gwendolyn. Family Pictures. Detroit: Broadside Press (1970). A review copy of this collection of poems. Only issued in stapled wrappers. Fine, and signed by the author.

75. BROOKS, Gwendolyn. Aloneness. Detroit: Broadside Press (1971). Another pamphlet, this one with one illustrated poem for children. Mild edge-sunning; else fine in stapled wrappers. Signed by the author.

76. BROOKS, Gwendolyn. The World of Gwendolyn Brooks. NY: Harper & Row (1971). A review copy of this uncommon collection that includes A Street in Bronzeville, Annie Allen, Maud Martha, The Bean Eaters and In the Mecca. Signed by the author. Fine in a fine dust jacket.

77. BROOKS, Gwendolyn. Report from Part One. Detroit: Broadside Press (1972). Part autobiography, part critical study of her own work. Compiles previously published pieces, including three interviews. This is a review copy and is signed by the author. Fine, without dust jacket, probably as issued. Extremely uncommon: the hardcover volumes published by Broadside Press seldom turn up on the market in any form, let alone as a signed review copy.

78. -. Same title, an advance state, consisting of padbound text, with cardboard as the rear cover and no front cover, presumably as issued. Signed by the author. Review slip laid in. Fragile; fine.

79. (BROOKS, Gwendolyn). Jump Bad. Detroit: Broadside Press (1971). A review copy of this anthology of African American Chicago poets, introduced by Gwendolyn Brooks. Near fine in wrappers.

80. (BROOKS, Gwendolyn). A Broadside Treasury. Detroit: Broadside Press (1971). An anthology edited by Brooks and including poetry by her as well as by LeRoi Jones, Nikki Giovanni, Margaret Walker, and many others. This is a review copy of the issue in wrappers. A little scuffing to the front cover; otherwise near fine, with review slip, promotional material, Broadside Press catalog and an order form for this title laid in.

81. BURKE, James Lee. In the Electric Mist with Confederate Dead. NY: Hyperion (1993). Advance reading copy of this novel in the popular and acclaimed Dave Robicheaux mystery series. Fine in wrappers and inscribed by the author.

82. BURKE, James Lee. Burning Angel. NY: Hyperion (1995). Aadvance reading copy of this Robicheaux novel. Fine in wrappers. Signed by the author.

83. BURKE, James Lee. Cimarron Rose. (New Orleans): (B.E. Trice) (1997). The limited edition of his most recent novel, which departs from his Dave Robicheaux series for the first time in over a decade. Printed from the sheets of the trade edition but with a different binding and colophon. Of a total edition of 176 copies, this is one of 150 numbered copies signed by the author. Clothbound; fine in a fine slipcase. List price:

84. BURROUGHS, William. The Soft Machine. Paris: Olympia (1961). The true first edition, published in Paris by Maurice Girodias' press five years before it came out in the U.S. Only issued in wrappers. This copy has a "new price" stamp in New Francs over the original price on the rear cover, and two initials and numbers written in an upper corner. A patch of yellowing to the green of the spine; still very good in a very good dust jacket with a bit of wear at the crown. Signed by the author. The Paris first editions of Burroughs' books have become increasingly scarce in recent years, especially in dust jacket, and most especially signed. An attractive copy of the true first edition of one of his key titles.

85. BURROUGHS, William S. The Naked Lunch. (NY): (Grove) (1962). An advance reading excerpt of the first American edition of his second book, one of the all-time great drug novels and a high spot of Beat and postwar American literature. Eight pages from the novel and two reviews, one by Terry Southern. With additional blurbs by Norman Mailer, Jack Kerouac, Robert Lowell and John Ciardi. Fine in stapled wrappers. An important promotional piece, in that Burroughs' novel was subjected to censorship prior to its U.S. publication, and the endorsements of such established literary celebrities as the above helped pave the way for its publication here by establishing it as a novel of literary merit.

86. BURROUGHS, William S. Remembering Jack Kerouac. Louisville: White Fields Press (n.d.). Broadside, approximately 10" x 22", printing the poem "Remembering Jack Kerouac" along with a photo of Burroughs. This is one of 26 lettered copies signed by the author. Fine.

87. -. Another copy. Corner bumped; near fine.

88. -. Same title, one of 100 numbered copies signed by the author. Fine.

<< Back to Catalog Index