Movie Catalog, R-S
346. RICE, Anne. Interview with the Vampire. NY: Knopf, 1992. The limited reissue of her first novel, which began the successful series and spawned the movie with Tom Cruise, Brad Pitt and Antonio Banderas. One of 1000 numbered copies of the reissue that were signed by the author on a tipped in leaf. With a wraparound band announcing the publication of The Tale of the Body Thief. Although the colophon states that the first one thousand copies of the reissue (of which this is one) have been prepared and numbered for the ABA Convention in May 1992, the copyright page states "Second printing, October 31, 1992." Fine in a fine dust jacket.
347. -. Same title, the limited reissue "Twentieth Anniversary Edition" (NY: Knopf, 1996). Fine in a fine dust jacket and publisher's slipcase, still shrink-wrapped. For this edition, the original height has been restored, although the book is thinner. Signed by the author.
348. -. Same title, the advance reading copy of the first edition (NY: Knopf, 1976). Interview with the Vampire was one of the unlikeliest success stories of the publishing season in 1976. Modest hardcover sales of the book would not have led one to imagine the long-term popularity and success of Rice's later books in the vampire Lestat series, nor did they predict the huge success this novel had in paperback, selling millions of copies. Even so, Rice's novels did not begin to approach such sales again until her next vampire novel -- published after two mainstream historical novels. Now, her vampire books routinely sell hundreds of thousands of copies in hardcover, putting her in a category with a mere handful of the most popular novelists writing today in America; her readings and book signings at bookstores become events in themselves, with hundreds, sometimes thousands of fans showing up, often dressed in Gothic clothing, representing a virtual subculture. Other than the very scarce uncorrected proof of this title, this is the first appearance in print of any of Rice's vampire writing. Small corner crease on front cover; overall near fine in dust jacket.
349. RICHTER, Conrad. The Light in the Forest. NY: Knopf, 1953. His first novel after winning the Pulitzer Prize for The Town, in 1950. Basis for the Disney film. Tiny bookstore stamp in the lower corner of the front pastedown; near fine in a near fine dust jacket.
350. RIMMER, Robert H. The Harrad Experiment. Los Angeles: Sherbourne (1966). Influential novel about a fictional college where an experiment in sexual liberation is taking place -- a book that anticipated, and helped precipitate, the changes in college life, including sexual mores, that took place in the late Sixties and early Seventies. The book was an underground bestseller in its paperback reprint at the height of the "sexual revolution" of the late Sixties, but the original edition, done by a small L.A. publisher, is quite scarce. Mild wear at crown and base of spine; near fine in a near fine dust jacket. Filmed in 1973 starring Don Johnson.
351. ROBBINS, Tom. Even Cowgirls Get the Blues. Boston: Houghton Mifflin, 1976. The uncorrected proof copy of his second novel, taxidermied into a film (looked like the same animal on the outside but all the life was gone). Directed by Gus Van Sant, with a cast that included Uma Thurman, Angie Dickinson, Keanu Reeves, Faye Dunaway and, briefly, William Burroughs. This proof belonged to Dan Wakefield, who reviewed the novel, and bears his signature on the front cover and marginal markings in the text. Near fine in wrappers.
352. -. Another copy of the proof. This copy is inscribed by the author "with joy & fond memories." Very good in wrappers.
353. -. Same title, this being a review copy of the simultaneous softcover edition. Near fine in wrappers, with review slip, photo and promotional sheet laid in. Inscribed by the author "With Joy!" A very nice copy of this popular book.
354. ROBINSON, Marilynne. Housekeeping. [NY: Farrar, Straus & Giroux, 1981]. Early draft pages of her first book and only work of fiction. Winner of the Ernest Hemingway Foundation Award and a Richard and Hilda Rosenthal Award. A subtle story of keeping what matters and escaping from the weight of the rest, made into a moving film starring Christine Lahti. Five sheets total: one page in holograph; two pages of typescript; two matching photocopied pages, one of which bears revisions. The holograph page is the first paragraph of the two typescript pages, which bear copyediting marks as well as a couple of authorial corrections, and these pages sketch out the event of the novel's opening. The photocopied pages are a draft of an event from much later in the published book. Loose sheets on varied paper; slight edgewear; near fine.
355. -. Same title. Printer's proof. 12" x 9". Several pages have errors excised; the half title that serves as a cover has mild spotting and edgewear; else fine. A scarce state of an important, highly praised first book.
356. ROSSNER, Judith. Looking for Mr. Goodbar. NY: Simon & Schuster (1975). Rossner's fourth book, a huge bestseller and basis for the film starring Diane Keaton and Richard Gere. Near fine in a near fine dust jacket with two short edge tears. A cheaply made book that shows wear easily; this is a nice copy.
357. ROTH, Philip. Goodbye, Columbus. Boston: Houghton Mifflin, 1959. The author's first book, a collection of short fiction, winner of a Houghton Mifflin Literary Fellowship Award. The film of the title novella featured Ali MacGraw and Richard Benjamin in their first starring roles and had music by The Association. This copy's been nibbled on the front edge of the rear board; otherwise near fine in a good dust jacket with many small flaws (sunning, spotting, edgewear, rubbing), but no one large enough to prevent it from being a presentable copy. A modestly priced, but still reasonably attractive copy of Roth's scarce first book.
358. RUSSO, Richard. Nobody's Fool. NY: Random House (1993). The author's third book, made into the highly praised movie with Paul Newman and Bruce Willis. John Irving blurb. Fine in a very near fine dust jacket crimped at the crown. Signed by the author in the month of publication.
359. -. Same title. The advance reading copy. Fine in wrappers.
360. SALZMAN, Mark. Iron & Silk. NY: Random House (1986). The uncorrected proof copy of his highly acclaimed first book, a personal account of a trip to China to study with a martial arts master, one of the more perceptive accounts by a Westerner both of contemporary China and of the traditions that underlie it. Made into an improbably well-received and successful movie, for which Salzman wrote the screenplay and played himself, and the martial arts master with whom he studied also played himself. Light, partial coffee cup ring front cover, and some minor creasing; very good in wrappers.
361. SANDOZ, Mari. Cheyenne Autumn. NY: McGraw-Hill (1953). Her classic account of one of the epic events in American Indian history -- the flight of a band of 1500 Cheyenne, mostly women and children, from their forced encampment in Indian Territory back to their homeland in the Yellowstone region, pursued by 10,000 U.S. troops under General Crook. John Ford's last Western starred Richard Widmark, Carroll Baker, Karl Malden, James Stewart, Edward G. Robinson and Ricardo Montalban, among others. Warmly inscribed by the author: "For John A. Leermachers [sp?]/ because he has walked/ the golden grass of/ this region, and brought/ it to us all in fine/ photography./ Sincerely/ Mari Sandoz." Fine in a near fine dust jacket, with an unobtrusive gutter tear on the front panel. With two contemporary reviews laid in, by J. Frank Dobie and W. R. Burnett.
362. SARRIS, Andrew. The Films of Josef von Sternberg. NY: Museum of Modern Art (1966). First book by Sarris, perhaps the most influential film critic of his time. Profiles of Sternberg's films, which included An American Tragedy and Crime and Punishment and his seven films with Marlene Dietrich, including The Blue Angel, among many others. Warmly inscribed by Sarris. Thin quarto, illustrated with photographs from the films. Near fine in a dusty, near fine dust jacket.
363. SARRIS, Andrew. The American Cinema. Directors and Directions 1929-1968. NY: Dutton, 1968. Thumbnail critiques of the work of over 200 directors, with filmographies. Inscribed by Sarris. Near fine in a near fine, spine and edge-sunned dust jacket with one gutter nick.
364. SARRIS, Andrew. Confessions of a Cultist: On the Cinema, 1955/1969. NY: Simon & Schuster (1970). A review copy of the hardcover issue. Inscribed by Sarris. Including reviews of To Kill a Mockingbird, Lolita, Hud, The Ugly American, Goodbye Columbus, The Spy Who Came in From the Cold, In Cold Blood, The Stranger, Psycho, and many others. Fine in a near fine dust jacket. Uncommon in hardcover, especially signed.
365. -. Same title, the uncorrected proof copy. Inscribed by Sarris. A fragile, padbound proof; the cover is detached, the title page is following. Good, in tall wrappers. Extremely scarce.
366. SARRIS, Andrew. The Primal Screen. NY: Simon & Schuster (1973). A review copy of this collection of essays on film and related subjects, including much in the way of the celebrated rift between Sarris and Pauline Kael, the movie critic for The New Yorker and one who was routinely at odds with Sarris in her opinions on films, directors, and even the premises of film criticism. Inscribed by the author. Edge-sunned; else fine in a near fine dust jacket.
367. SARRIS, Andrew. The John Ford Movie Mystery. Bloomington: Indiana U. Press (1975). A study of the director of such films as Men Without Women, How Green Was My Valley, Arrowsmith, The Grapes of Wrath and The Man Who Shot Liberty Valance, among many others. Inscribed by Sarris to "the best friend this book writer ever had." Fine in a fine dust jacket with trace edge-rubbing.
368. SARRIS, Andrew. Politics and Cinema. NY: Columbia U. Press, 1978. This title inscribed by the author to the same recipient as above -- "the best friend any book writer ever had." Fine in a very near fine dust jacket.
369. SAYLES, John. Thinking in Pictures. Boston: Houghton Mifflin, 1987. The uncorrected proof copy of this book of nonfiction, about the making of his film, Matewan. Includes the screenplay for the movie as well -- making this the only place in print where Sayles's talents as a filmmaker and as an author are shown in combination. Fine in wrappers.
370. SCHICKEL, Richard. Movies. The History of an Art and an Institution. NY: Basic Books (1964). A review copy of this early book by Schickel, the longstanding and respected film reviewer for Time magazine. Near fine in a very good dust jacket chipped at the spine extremities.
371. SCHICKEL, Richard. Second Sight: Notes on Some Movies, 1965-1970. NY: Simon & Schuster (1972). A review copy. Inscribed by the author. With reviews of movies such as Doctor Zhivago, Welcome to Hard Times, In the Heat of the Night, The Graduate, Cool Hand Luke, M*A*S*H, They Shoot Horses, Don't They?, Catch-22, True Grit, Midnight Cowboy, and many others. Fine in a very near fine dust jacket.
372. SCHICKEL, Richard. His Picture in the Papers. NY: Charterhouse [1974]. A review copy. Inscribed by Schickel. Subtitled: "A Speculation on Celebrity in America, Based on the Life of Douglas Fairbanks, Sr." Fine in a near fine dust jacket.
373. SCHICKEL, Richard. The Men Who Made the Movies. NY: Atheneum, 1975. Interviews by Schickel with eight directors, including Hitchcock, Capra, Vidor, Cukor and Hawks. Inscribed by Schickel. This volume arose out of the PBS series that Schickel wrote, directed and produced. Quarto, heavily illulstrated with photographs from the various directors' movies. Fine in a very near fine dust jacket, with a few tiny edge tears.
First American Edition of Frankenstein
374. SHELLEY, Mary. Frankenstein; or the Modern Prometheus. Philadelphia: Carey, Lea and Blanchard, 1833. The first American edition, in two volumes; original publisher's muslin backed boards with paper labels. First filmed in 1931 with Colin Clive and Boris Karloff; released uncensored in 1987; remade in 1993 and 1994. The original is one of the American Film Institute's top 100 Films of the Century. Volume One has an owner name on the title page; light foxing; minor wear to the binding and label. Volume Two has slightly more wear and foxing; previous owner comments on blank leaf; and a corner tear on the rear free endpaper. The bottom half of the final page of text has been replaced, affecting the words "The End." In a custom clamshell box.
375. SIMON, John. Private Screenings. Views of the Cinema of the Sixties. NY: Macmillan (1967). A book of the author's astringent, highly opinionated, plain-spoken film criticism, comprising reviews he wrote over a four-year period plus some essays prepared especially for this volume, including a long essay on "Godard and the Godardians." Simon was the film reviewer for The New Leader. Fine in a fine dust jacket and inscribed by the author in 1974.
376. SIMON, John. Movies into Film/Film Criticism 1967-1970. NY: Dial, 1971. His third book, a second collection of his movie reviews. Simon was the most controversial and one of the most important critics of his time, and his reviews both commented on and helped influence the direction that film took in the late Sixties and Seventies, a period of great change in the film industry. Fine in a very near fine dust jacket with a touch of rubbing near the spine crown. Inscribed by the author. Jerzy Kosinski blurb.
377. SIMON, John. Ingmar Bergman Directs. NY: HBJ (1972). Advance review copy of this critical study of Bergman, the director Simon considered "the greatest film-maker the world has seen so far." Fine in a fine dust jacket and inscribed by the author "with best regards from one Bergmaniac to (I hope) another."
378. SINGER, Loren. The Parallax View. Garden City: Doubleday (1970). Political thriller about a senator's assassination, loosely based on events surrounding the assassination of JFK, directed by Alan Pakula, who also directed All the President's Men. Starring Warren Beatty and Paula Prentiss. Remainder spray bottom page edges; near fine in a rubbed, near fine dust jacket.
379. SMILEY, Jane. A Thousand Acres. NY: Knopf, 1991. Advance reading excerpt from her Pulitzer Prize-winning book. Signed by the author. Fine in stapled wrappers.
380. SMITH, Martin Cruz. Nightwing. (London): Deutsch (1977). The first British edition of this novel about an Indian shaman who brings a plague of bats against white men despoiling the earth in a quest for energy sources. Made into a forgettable 1979 movie. The novel (and movie) precedes the author's success with Gorky Park and later novels. Fine in a near fine dust jacket.
381. SMITH, Scott. A Simple Plan. NY: Knopf, 1993. The advance reading copy of the author's first novel, which was later made into a well-received film reminiscent in some respects of The Treasure of the Sierra Madre. Fine in wrappers.
382. SONTAG, Susan. Duet for Cannibals. NY: FSG (1970). A screenplay, Sontag's first, for a film she wrote, directed and debuted at Cannes in 1969. A hint of darkening to crown; still fine in a fine dust jacket. Heavily illustrated with photographs from the movie. Signed by the author. One of her least common titles.
383. -. Another copy, unsigned. Near fine in a near fine dust jacket.
384. SONTAG, Susan. Brother Carl. NY: FSG (1974). The uncorrected proof copy of the screenplay for her second film, which premiered at Cannes in 1971. With an introduction by Sontag about the genesis of the film. Near fine in tall wrappers. A very scarce proof.
385. SPENCER, Scott. Endless Love. NY: Knopf, 1979. His well-received third novel, basis for the not-so-well received film that starred Brooke Shields. Notable only as the film debut of Tom Cruise. Very good in a very good, price-clipped dust jacket. Signed by the author.
386. STEINBECK, John. East of Eden. NY: Viking (1952). Perhaps his most famous novel after The Grapes of Wrath, an ambitious family saga that was the basis for Elia Kazan film starring James Dean. Minimal fading to about 1/4 inch at the bottom of the front cover, otherwise very fine in a dust jacket with a tiny tear at the lower edge of the rear panel, otherwise also very fine. A beautiful copy of this novel, seldom found in this condition.
387. STONE, Robert. A Hall of Mirrors. Boston: Houghton Mifflin, 1967. His first book, a novel of drifters in New Orleans in the early Sixties caught up in the web of a quasi-religious political machine. Winner of the William Faulkner Award for best first novel of the year as well as a Houghton Mifflin Literary Fellowship Award. Filmed in 1970 as WUSA with Paul Newman and Joanne Woodward. Newman also took on another difficult literary novel the following year, Ken Kesey's Sometimes a Great Notion, with another excellent cast but similar mixed success. Fine in a fine dust jacket. Rare thus.
388. -. Another copy. A near fine copy in a near fine dust jacket with some very slight tanning and rubbing to the spine, but very little fading. Signed by Stone.
389. -. Same movie. Lobby Poster for WUSA. Paramount, 1970. 27" x 41". Picturing Newman and Woodward under the "Love it or Leave it" slogan -- something of an anachronism as the story takes place in the early Sixties, before that slogan came into popular use. Newman, Woodward, and Anthony Perkins get top billing. The film also starred Cloris Leachman, with music by Neil Diamond. Stone co-wrote the screenplay, with Judith Rascoe. Folded in eighths; corners chipped from posting; near fine.
390. STONE, Robert. Dog Soldiers. Boston: Houghton Mifflin (1974). The uncorrected proof copy of his second novel, winner of the National Book Award and one of the best novels to link the impact of the Vietnam war on American society in the Sixties to the dark side of that era. Filmed as Who'll Stop the Rain with Nick Nolte, Tuesday Weld, Michael Moriarty and Anthony Zerbe heading an excellent cast. Directed by Karel Reisz. This is the second issue proof, in brown wrappers with a publisher's letter to booksellers reproduced on the front cover. This copy has a detached first blank, otherwise it is near fine in wrappers, with the publisher's original reply postcard laid in. Signed by the author.
391. STONE, Robert. Children of Light. London: Deutsch (1986). The uncorrected proof copy of the true first edition of his fourth novel, preceding the American edition by one week. The trade edition had a printing of 4500 copies (one-tenth the print-run of the American edition); the proof is scarcer still. We have only offered it once before. The proof is fine; it is laid into a very good dust jacket that is spine-faded and rumpled from extending past the proof. Not a movie, but rather Stone's Hollywood novel -- an eerie tale of an actor/screenwriter and a psychotic, drug-dependent actress, with echoes of both King Lear and Kate Chopin's The Awakening, both of which are also plot elements. A harsh look at the underside of Hollywood's glamour and, in our opinion, Stone's most underrated book. Ironically, it would make a fascinating movie.
392. -. Same title, the first American edition (NY: Knopf, 1986). Fine in a fine dust jacket and inscribed by the author.
393. STOPPARD, Tom. Rosencrantz and Guildenstern are Dead. London: Faber and Faber (1967). His most famous play, which he then adapted for the screen, directing it himself. An auspicious debut by the creator of the Academy Award-winning Shakespeare in Love. This is a fine copy of the issue in wrappers.
394. -. Same title, the first American edition (NY: Grove Press, 1967). Fine in a fine dust jacket.
395. STRAUB, Peter. Ghost Story. NY: Coward McCann Geoghegan (1979). The author's fourth novel, which has been called the best ghost story ever written. Fred Astaire's final film (1981), also starred Melvyn Douglas, Douglas Fairbanks, Jr., John Houseman and Patricia Neal. Fine in a fine price-clipped dust jacket.
396. STYRON, William. Sophie's Choice. NY: Random House (1979). The uncorrected proof copy of the fifth novel by the author of Lie Down in Darkness and the Pulitzer Prize-winning Confessions of Nat Turner. A powerful book that won the National Book Award and was made into a well-received film by Alan Pakula for which Meryl Streep won an Oscar. Spine-faded, and with it the author's name, which had been written in marker there; publisher's label front cover bears several markings; very good in wrappers.