Movie Catalog, N-P
317. NABOKOV, Vladimir. Lolita. Paris: Olympia Press (1955). The correct first edition of Nabokov's masterwork, published in Paris by the Olympia Press in an edition estimated at 5000 copies. Filmed in 1962 by Stanley Kubrick and again in 1997 by Adrian Lyne, in a controversial adaptation that, in an echo of the novel's original banning in the U.S., could not be shown in this country for a time, for failure to find a distributor willing to take the risk of a movie with so controversial and discomfiting a theme. This copy is inscribed by Nabokov to Robert Boyle in June, 1959, a year after the book was finally published in the U.S. In the summer of 1959, Boyle spent two days with Vladimir and Véra Nabokov in Arizona, as Nabokov unsuccessfully pursued the butterfly known as "Nabokov's wood nymph." Based on his time with Nabokov, Boyle wrote an article that was published in Sports Illustrated in September 1959. The Brian Boyd biography, Vladimir Nabokov: The American Years, calls Boyle's article "perhaps our finest moment-by-moment image of Nabokov the man." Boyle and Nabokov apparently enjoyed each other's company in the time they were together. In a letter to Boyle much later, Boyd wrote "I don't think [Nabokov] ever enjoyed an interview or interviewer so much again." Nabokov's inscription, on the half title, reads: "To Bob Boyle/ from Vladimir Nabokov/ 2 June 1959/ Forest Houses/ Oak Creek Cn." With an additional drawing of a butterfly, mostly pink, with darker edges (apparently not the sought-after wood nymph). Two volumes in wrappers, this being the first issue. The inscription appears in the first volume, in which the wrappers have been professionally re-glued and which is very near fine with trace edge rubbing. The second volume is also near fine. Both housed in a custom case, and a much-nicer-than-usual set, having been carefully preserved since 1959. Signed copies of Lolita are perhaps even more elusive than "Nabokov's wood nymph": Nabokov was notoriously reluctant to sign books in general and almost all the signed copies of his books that turn up are inscribed to close friends or family members. One of the high spots of 20th century literature, and a true rarity as a signed first.
318. O'BRIEN, John. Leaving Las Vegas. (Wichita): Watermark Press (1990). The author's first and only book, an autobiographical novel that was the basis for the acclaimed film that brought Nicholas Cage an Oscar for best actor. O'Brien committed suicide after selling the film rights. Fine in a very near fine dust jacket with a slight crimp near the crown.
319. O'BRIEN, Tim. In the Lake of the Woods. Boston: Houghton Mifflin, 1994. A novel involving a Vietnam vet who rises to a position of public prominence but carries a secret that threatens to undo his accomplishment. Named best novel of the year by Time magazine; made into a movie for television. Inscribed by the author to "a fellow veteran of Vietnam." Faint blue spot to upper page edges; else fine in a fine dust jacket. The book (without jacket) measures 1" wide.
320. -. Another copy. Fine in a fine dust jacket, and signed by the author.
321. -. Same title. This is the wide issue, 1 1/16" thick; no priority has been established. Fine in a fine dust jacket, and signed by the author.
322. O'HARA, John. Butterfield 8. NY: Harcourt Brace (1935). Third book, second novel, by the author of Appointment in Samarra, Pal Joey, and others. One of O'Hara's most famous books, in part because of the 1960 film for which Elizabeth Taylor won the Academy Award. Near fine in a very good, edgeworn dust jacket, faded on the spine and with several small edge chips, particularly at the spine extremities, which are internally tape-strengthened. Laid in is an autograph card signed by O'Hara, presenting the book to a friend in 1951. Autograph material by O'Hara is quite scarce. The note is 4 3/8" x 2 1/2"; sunned; near fine.
323. OLSEN, Tillie. Tell Me a Riddle. London: Faber & Faber (1964). The first British edition of the author's first book, a highly praised collection of stories. Inscribed by the author to Seymour Lawrence under the front flap: "For the Lawrence of WAKE - who still is - / Tillie Olsen/ June 1965." Laid in is an autograph note signed: "This for you - personally - & your wife who looks/ like my Karla - / I hope you can reissue these someday, with other/ pieces - / And other books./ TLO/ A scrawled on picture where we met." Included is a 3 1/2" square black and white photo of Olsen at her desk ("scrawled on" only on verso). The note is on 4" x 6" paper; paperclip imprint, else fine. The book is near fine in a very good dust jacket with tiny chipping at the extremities. An important first book: Olsen has been widely seen as one of the most important American women writers of the postwar era, and her relatively small body of work has had a disproportionate influence both because of its quality and because of the political reality that there has been so little of it, largely due to the societal double standard imposed on women, who have been expected to subsume their careers, literary or otherwise, to the demands of raising a family, keeping house, etc. Olsen began writing in the 1930's but didn't publish a book for nearly thirty years because of the demands of economic survival. The title story of this collection won the O. Henry Award for the best story published the year it came out and later became one of the most widely taught and anthologized stories of the modern canon. Olsen's hope was realized: Lawrence re-published this book in 1969, enabling a new generation of readers to discover her work, which was long out of print by then. He also published her next books, as she had hoped. The film, which was Lee Grant's first feature film, was released in 1980.
324. ONDAATJE, Michael. The English Patient. (London): Bloomsbury (1992). The uncorrected proof copy of the British, and true first, edition of his Booker Prize-winning novel, basis for the Academy Award-winning film. Anthony Minghella wrote the screenplay and directed the film; he also wrote and directed Truly, Madly, Deeply. The film was produced by Saul Zaentz, who produced One Flew Over the Cuckoo's Nest, Amadeus, and The Unbearable Lightness of Being. Reproducing several copy-editor's marks in text. Covers very slightly curled; still about near fine in wrappers.
325. -. Same title, the first trade edition. Fine in a fine dust jacket. Surprisingly scarce for a British book this recent.
326. -. Same title, the first Canadian edition (Toronto: McClelland & Stewart, 1992). "Following the flag," this would be the preferred edition as Ondaatje is Canadian, although the British edition is the true first printing. Fine in a fine dust jacket and signed by the author.
327. -. Same title, an uncorrected proof copy of the American edition (NY: Knopf, 1992). Fine in wrappers, with promotional sheets laid in.
328. -. Same title, the uncorrected proof copy of the Minghella screenplay (NY: Hyperion, 1996). With an introduction by Michael Ondaatje. Illustrated with photos from the movie. Fine in wrappers.
329. O'NEILL, Eugene. The Emperor Jones. NY: Boni & Liveright, 1928. The limited edition of this experimental play by the Nobel Prize-winning author and three-time Pulitzer Prize winner for drama. This edition, published eight years after the first edition, has illustrations by Alexander King, and is bound in an attractive Art Deco binding. Of a total edition of 775, this is one of 750 numbered copies signed by the author. A fine copy, in a fine dust jacket -- and very scarce thus -- in a fair slipcase cracked along two edges. The film adaptation, released in 1933, starred Paul Robeson.
330. O'NEILL, Eugene. The Hairy Ape. NY: Horace Liveright, 1929. Another limited edition published several years after the first edition, again with illustrations by Alexander King and published in a format uniform with that of The Emperor Jones, in an attractive binding of cloth and handmade paste paper and illustrated dust jacket. Of a total edition of 775, this is copy #14 of 750 numbered copies signed by the author. A fine copy, in a near fine, spine-tanned dust jacket, in a (married) slipcase (#37) worn at the corners. Filmed in 1944 with Susan Hayward.
331. PASTERNAK, Boris. Doctor Zhivago. London: Harvill Press and Collins, 1958. Uncorrected proof copy of the first English edition of the Russian Nobel Prize winner's greatest book, a huge bestseller in this country and basis for a powerful Hollywood epic, winner of five Academy Awards and one of the American Film Institute's Films of the Century. Very near fine in plain brown wrappers with publisher's label on front cover. In a custom clamshell box.
332. PATON, Alan. Cry, the Beloved Country. NY: Scribner (1950). Later printing of the American edition of Paton's first novel, a modern classic of racial prejudice under South Africa's apartheid system -- a bellwether book for race relations in this country as well as a searing exposé of conditions in his own country. Inscribed by the author for author and literary critic Van Wyck Brooks in 1954, and bearing Brooks's ownership signature. A very good copy in a very good dust jacket, and an excellent literary association copy of one of the great books of the postwar era, filmed in 1951 and 1995.
333. PORTIS, Charles. True Grit. NY: Simon & Schuster (1968). His second book, memorably filmed with John Wayne in an Oscar-winning performance as "Rooster Cogburn." Near fine in a near fine dust jacket with glowing blurbs by a number of literary figures, including Walker Percy, Roald Dahl, William Eastlake, A. C. Greene and others.
334. PRICE, Richard. The Wanderers. Boston: Houghton Mifflin, 1974. The author's first book, the basis for the well-received Philip Kaufman film. Fine in a fine dust jacket with a small corner crease on the front flap.
335. -. Another copy. Fine in a near fine, price-clipped dust jacket.
336. -. Another copy. Fine in a near fine jacket.
337. -. Same title, the uncorrected proof copy. Creasing to rear cover; abraded spot on front cover; very good in wrappers. Uncommon.
338. PRICE, Richard. Clockers. Boston: Houghton Mifflin, 1992. A powerful novel of drug dealers and street life in a contemporary urban housing project; basis for the Spike Lee film, for which Price co-write the screenplay, together with Lee. Fine in a fine dust jacket and signed by the author.
339. PRICE, Richard. Three Screenplays. Boston/NY: Houghton Mifflin, 1993. An advance reading copy, collecting Price's scripts for The Color of Money, Sea of Love, and Night and the City, together with an introductory interview with Price. Price, the author of Clockers, Blood Brothers, and The Wanderers, has probably enjoyed more commercial success as a screenwriter than as a novelist, although his novels have been universally well-received by critics. His screenplay for The Color of Money was nominated for an Academy Award. Near fine in wrappers.
340. PRICE, Vincent. Autograph Letter Signed and Autograph Postcard Signed. July and August, 1985. Each written to the editor of Art & Antiques and each discussing the possibility of Price writing a piece on collecting Indian art. Price's screen credits number near, if not over, one hundred films and include House of Usher, Diary of a Madman, The Ten Commandments, The Fly, and Edward Scissorhands. The letter is folded for mailing, with envelope included; both pieces fine.
341. PROFFITT, Nicholas. Gardens of Stone. NY: Carroll & Graf (1983). The author's first book, a novel about war by a writer who was a correspondent for Newsweek there. The film, directed by Francis Ford Coppola, starred James Caan, Angelica Huston, and James Earl Jones. Fine in a fine dust jacket.
342. -. Same title, the uncorrected proof copy. Spine-sunning; near fine in wrappers.
343. PUIG, Manuel. Betrayed by Rita Hayworth. NY: Dutton, 1971. The first American edition of this Argentine author's first book. Not a film, but rather a book in which movies serve as an escape. Puig went on to write Kiss of the Spider Woman, filmed by Hector Babenco. Fine in a fine dust jacket with trace wear to the crown.
344. PUZO, Mario. The Godfather. NY: Putnam (1969) The advance reading copy of this bestseller that became, under Francis Ford Coppola's direction, an Academy Award-winning film. The Godfather won Best Picture, Best Screenplay (Coppola and Puzo) and Best Actor (Marlon Brando). Both The Godfather and The Godfather Part II made the list of the American Film Institute's top 100 Films of the Century, with The Godfather at number three, behind only Citizen Kane and Casablanca. Very good in self-wrappers, with some rubbing at the extremities and a tiny tear. Fragile, and scarce.