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E-list # 160

Early Versions: Typescripts and Galleys

Santa Barbara, Capra Press, [1986]. Two sets of galley sheets, one bound and one unbound, for the small Capra volume, Confessions of a Barbarian, which was an advance excerpt of the book later published as The Fool's Progress. Two sets of sheets, each on legal-sized paper and printed on rectos only. 42 pages, including the "Editor's Introduction" in which Abbey recounts his first meeting with "Henry Lightcap," the narrator of the novel. The first set of sheets, unbound, has the alternate titles "Festival of Fools" and "A Fool's Progress" written at the top, with a question mark, and "read by E. Abbey 2/86" written across the bottom. The second set, comb-bound at the top, includes a pictorial cover and the text of "Red Knife Valley" by Jack Curtis, which was bound back-to-back with the Abbey piece in the finished book. This second set is marked as having been read by E. Abbey on 3/4/86. Both versions have been copy-edited. On several pages in the unbound version, Abbey has served as his own copy editor: on page 24 in the first version Abbey himself writes: "two pages of typescript missing here," and signs the comment, "EA." The two pages of heavily corrected (photocopied) typescript are inserted into the second version. And on page 29 of the first version, under the typeset message "NOTE! Manuscript pages 46 & 47 need to be inserted here. I did not receive them," Abbey again interjects: "Yes you did," and initials there, "EA." These additional two photocopied and corrected "missing" pages are also laid into the second version. In a few other places Abbey has corrected typos, although without signing his edits, and he has used the verso of one sheet to make a note, presumably to himself, apparently about a sizable bank deposit. Both sets of galleys are fine and laid into one custom clamshell case. A unique, working copy of one of Abbey's last books: he died shortly after the full-length version of The Fool's Progress was published. Working copies of his books and papers seldom appear in the marketplace; most have been sold or donated to institutions. [#032730] $1,500
(NY), Dutton, (1995). The uncorrected proof copy of this narrative work based on a performance piece that Allison wrote and performed after the success of Bastard Out of Carolina, her first novel. Together with the photocopied typescript, which reproduces numerous changes and corrections, presumably authorial, including the excision of several long paragraphs, still visible. Edge tears to the cover sheet; otherwise fine. The proof copy is fine in wrappers. Allison's first novel was highly praised, and controversial. It was adapted for a television miniseries which won an Emmy award and was nominated for several others, but was for a time banned in Canada because of the controversial subject matter. [#013485] $250
London, Transcontinental Film Productions, 1979. A copy of Amis' screenplay for this 1980 science fiction thriller, based on a story by John Barry, and starring Farrah Fawcett, Kirk Douglas, and Harvey Keitel. Signed by Amis. 94 pages of late-generation photocopy reproducing holograph changes to the text, printed on rectos only; title written on the spine. Title page dated January 19th, 1979, with some interior pages dated variously after that up to March 7, 1979. Bradbound without covers; near fine. Housed in a slipcase for Amis' Invasion of the Space Invaders. Saturn 3 was nominated for a Golden Raspberry Award for worst in film, but lost to the pseudo-documentary of the Village People, Can't Stop the Music, starring Bruce Jenner. A little-known, early work by Martin Amis, and very uncommon to find signed. [#032732] $350
NY, Hill & Wang, (1982). Long galley sheets for this collection by the French literary theorist and semiotician. Pages 76-136 only, thus without the Susan Sontag introduction that appeared in the published book. Fine. [#028851] $25
Berkeley, North Point, 1982. Bound galleys of this collection of stories that was published as a paperback original. 8-1/2" x 14", printed on rectos only. Velobound; very near fine. An uncommon format for a proof. [#022660] $40
[NY], Farrar, Straus & Giroux, [1983]. Galley proof for the jacket copy of Bishop's second volume of collected poems. Her earlier volume, published in 1969, won the National Book Award. One long page, approximately 23" x 6-3/4", folded in fourths; near fine. [#015485] $50
(n.p.), (n.p.), (1983). An advance copy, in the form of a bound photocopied typescript, 294 pages, of nearly 40 interviews with the family and friends of some of the men killed in Vietnam, decades later. Tapebound cardstock covers; very good. Published by St. Martin's Press in 1984. [#028596] $25
(NY), (Houghton Mifflin), (1994). The uncorrected proof copy. This is shot from manuscript, rather than having been typeset -- a format which typically suggests small distribution -- and is considerably scarcer than the glossy advance reading copy of this title that was issued. Fine in wrappers. [#019422] $50
1970. A privately distributed assemblage of the poet's verse from 1967-1970. Brutus, an exiled South African poet-activist, who had spent time in the cell next to Nelson Mandela on Robben Island and was partly responsible for South Africa being banned from the 1964 Olympics -- a sanction that helped create the strategy that eventually defeated apartheid -- was a visiting lecturer in the English Department at the University of Denver in 1970, and he circulated these 25 poems as "something personal to give to the people who have been so kind to me here...But also there is an immediacy about some of my verse...I feel strongly just now that to justify my continuing to write verse, it needs to be doing something." [As quoted in a cover letter to this collection provided by Karen C. Chapman, editor, the previous year, of Dennis Brutus: Letters to Martha and Other Poems from a South African Prison]. In other words, these poems represent Brutus' attempt, even while in exile, to keep his poetry relevant, and to continue in his role as an activist and agitator. Inscribed by Brutus: "Bob & Elizabeth Richardson. In appreciation, sincerely, Dennis Brutus, March, 1970." Also dated and initialed by Brutus, "5.14 DB." Loose sheets, with the endsheets being stationery with the watermark of the University of Denver. Chapman's cover sheet also provides a biographical sketch of Brutus. Faint sunning to the pages; else fine, and in the original clear acetate folder. We can find no evidence of any other copy of this collection surviving; a virtually unique collection of typescript poetry by a major figure in both world poetry and, in particular, the anti-apartheid movement among South African artists. A literary footnote: Robert Richardson later married Annie Dillard, a relationship engendered by her writing him a fan letter regarding his 1986 book on Henry Thoreau. [#030102] $1,000
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
(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
1933. 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, "Tribute to a Hero," is an autobiographical piece about the Cain family following the 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" (with an assist from Cain's father) on the occasion of a Washington College-Maryland Agricultural College football game. Published 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
NY, Random House, 1998. An advance copy in the form of a bound photocopied typescript. 467 pages, double-spaced and double-sided, with the title header "Orno & Marshall" and the date header "11/4/97," and significant textual variations between this and the published text. Sent by a Random House editor to Peter Matthiessen, hoping for a publicity comment. An additional handwritten letter is laid in, from John [Sterling?] to Matthiessen's wife, expressing happiness that the Matthiessens will be coming to Sun Valley [likely the Writers Conference]: "It will be a social zoo, of course, but we will have one another (and Mark Salzman's humor) as comfort." Tapebound, with an acetate cover; near fine. An early -- and at this point possibly unique -- version of the second novel by Canin, with distinguished provenance. [#032272] $250
(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
NY, Holt Rinehart Winston, (1971). The uncorrected proof copy. Signed by the author. Tall, comb-bound galley sheets. Edge-tanned, else fine. [#031230] $150
1993. An apparently unproduced screenplay. Cook self-published Rent a Family as a novel in 2010. Claspbound photocopy in plain covers; near fine. [#030537] $50
(NY), (Crowell), (1976). Uncorrected proof copy. Tapebound. Light staining along the front spine fold, seemingly from the adhesive; very good. A format suggestive of substantial scarcity: the pages are shot from galley sheets; the cover and title page are reproduced from hand-lettered design. [#000086] $20
(Brooklyn), McSweeney's, (2001). Two advance states of this collection of stories: unbound photocopied galleys, 201 sheets, 8-1/2" x 11", printed on rectos only, fine but for a near fine cover sheet; and velobound 8-1/2" x 11" sheets, now including the cover art by David Byrne, fine. [#032971] $500
(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
(Native American)
(NY), Macmillan, (1970). The galley sheets of this powerful polemic by the best-known spokesman for Native American causes to emerge in the late Sixties. His second book, after the highly praised Custer Died for Your Sins, and one of the early books of what has come to be called the Native American Renaissance. Roughly 60 7-1/2" x 12" sheets, printed on rectos only. String-tied (shoelace, to be specific) at the top, in blue cardstock covers printing only the title and publisher (no author). The rear cover has a partially removed label. Near fine. The galley's lack the book's appendix; casual inspection revealed only the change in the recurring spelling of one name (Foreman became Forman). Exceedingly scarce: the format suggests that only a tiny handful would have been produced, each of them assembled by hand. [#032664] $300
NY, Dutton, 1971. An advance copy in the form of stringbound galley sheets. Slight age-darkening to half-title; near fine in mildly edge-sunned cardboard covers. [#028747] $25
NY, Farrar, Straus & Giroux, (1981). A unique set of publisher's materials for her well-received first novel, winner of the short-lived National Book Award for best first novel. Printer's blues; two sets of long galley sheets; three copies of the dust jacket (folded flat); mock-up of binding. One jacket creased; else all items fine. Presumably this would have been the only such set generated, for the publisher's own internal use. [#019676] $200
1980. Long galley sheets for Dick's novel VALIS (Vast Active Living Intelligence System), with two typed letters signed to Alan Ryan, fellow science fiction writer and editor of the religiously-themed speculative fiction anthology Perpetual Light. Both letters are dated March 13, 1980, with one being for private reading, thanking Ryan for his review of Dick's The Golden Man and discussing VALIS; the second being for Ryan to show to others, espousing enthusiasm for his planned anthology. The VALIS galley sheets for this 1981 Bantam paperback original are dated 6-23-80: approximately 68 sheets of 25" in length, age-toned with minimal edge wear, in a custom folding chemise and slipcase. Casual inspection revealed one textual difference from the published version. Near fine; the letters are folded in thirds, else fine. Also laid in is a very good copy of the proof of the Bantam covers, which differs from the final version by virtue of the absence of the Bantam logo on the front cover. A very scarce issue of the book that would become the capstone to Dick's literary career. Long galleys such as these are seldom produced in more than a couple of copies, and very seldom turn up for books that were issued as paperback originals. It's ironic that Dick's culminating novel, which transcends science fiction's usual boundaries, would be issued as a paperback original: Dick had so many books issued as paperback originals in the 1950s and 60s, before his books came to be regularly published in hardcover, that the Science Fiction Writers of America named an award after him, the Philip K. Dick Award, for the best SF novel issued as a paperback original. Dick spent the last several years of his life striving for recognition as more than a science fiction writer, and VALIS could have been that break-out novel, had it not reverted him to his former identity as a writer of paperback originals. A rare issue of a major Dick novel, along with two very revealing letters to a fellow writer and colleague. As far as we can tell, unique. [#032867] $16,500
(San Francisco/Brooklyn), McSweeney's, (2002). Three items: the first edition, a 339 page photocopied typescript, and a 4-page promotional handout. The book is signed by both Dixon and by Daniel Clowes, who provided the cover art. Fine, without dust jacket, as issued. The sheets are punched along the left margin, as though for velobinding. Printed on rectos only; fine. [#032973] $125
NY, Harper & Brothers, (1956). Bound galleys of Eastlake's first book, the first novel in what became (with The Bronc People and Portrait of an Artist with Twenty-Six Horses) his Bowman Family Trilogy. This copy was sent to Paul Bowles: a letter laid in from an editor at Harper's announces the book and solicits comments from Bowles. 6-1/2" x 11-7/16", printed on rectos only and perfectbound in plain wrappers with a label partially removed from the front cover. In a custom clamshell case. A very near fine copy of a scarce proof, dating from an era in which the production of bound proof copies was the exception, not the norm: this is the only copy we've ever seen. With notable provenance, having come from Paul Bowles's library, and with textual differences from the published book. [#016192] $1,500
[c. 1990]. Two typescript drafts of Edgerton's fourth novel. One draft is warmly inscribed by Edgerton to Dudley Jahnke "with greatest appreciation for your help in the book business -- and music business -- and all else" and dated "28 March 90." Killer Diller deals with a struggling musician who forms the Killer Diller Blues Band, thus the reference to Jahnke's help with the "music business." Comb-bound in cardstock covers and titled in Edgerton's hand. This draft reproduces a number of the author's changes, which are especially heavy at the beginning of the book. A note in Edgerton's hand on the first page states that "The copy gets cleaner in a few pages." Near fine. The other draft, approximately 250 loose photocopied sheets from a dot matrix printer original, reproduces heavy editing by "SR," with SR's title page. This draft differs substantially from the bound draft, and the opening of the book [at least] is entirely different. Fine. Together with an envelope, hand-addressed by Edgerton to Dudley Jahnke, the recipient of both drafts. The novel, in a form that varies from both drafts above, was published by Algonquin Books in 1991. It was the basis for a limited release film in 2004 which won an award at the Heartland Film Festival. Edgerton, in addition to being a Guggenheim Fellow, has won the North Carolina Award for Literature. An interesting look at a work-in-progress by an important North Carolina author. [#027598] $1,750
Garden City, Doubleday, 1973. The uncorrected proof copy of this large collection of stories and prose poems, in the form of tall, bound galley sheets printed on rectos only. Stamped "Final Galley." A number of the galley pages are loose but all are present. Near fine in wrappers and signed by the author. Scarce, fragile format. [#001425] $80
(n.p), (n.p), (n.d.). Farrell's typescript pages (pp. 4, 5, 11) for what appears to be an introduction to a work by or about Dreiser. Reportedly, this was from an introduction to a Collier Books edition of Sister Carrie, but we have been unable to verify that such an edition existed. It is not from the 1975 Sagamore Press edition (which does have a Farrell introduction). Nor, as best as we can tell, is it from Farrell's introduction to The Best Short Stories of Theodore Dreiser, nor the 1955 volume The Stature of Theodore Dreiser, nor the 1962 volume Theodore Dreiser. What it is: three pages of text (two ribbon copy; one carbon copy), with holograph corrections, with an additional two pages (p. 11, p. 12) of notes/inserts, in manuscript. It is verifiable as Farrell's by the fact that in the text he quotes from letters to himself from H.L. Mencken, about Dreiser. The manuscript pages are darkened; page 11 has some offsetting; near fine. Farrell wrote about Sister Carrie repeatedly in his career, including a piece for the New York Times Book Review in 1943. Dreiser's book claimed the #33 spot on the Modern Library's list of Books of the Century, four spots behind Farrell's Lonigan Trilogy. [#012793] $300
(n.p.), Little Brown, 1999. Advance copy, in the form of 8-1/2" x 11" bound typescript, with pages 15-28 laid in. A well-received first novel, which was selected for Oprah Winfrey's book club. Acetate front cover creased; else fine. [#019475] $25
Boston/NY, Houghton Mifflin, 1998. Tapebound advance copy, consisting of 8 1/2" x 11" sheets reproducing word-processed typescript; a very early state of the book. Fine. Laid in is a typed letter signed by the author. [#008119] $25
Athens, University of Georgia Press, (1993). Bound galleys of this critical study of poetry by Vietnam veterans, in which Gotera analyzes poems from a number of the important anthologies of Vietnam war poetry, as well as several individual author's collections. Long, oblong sheets, printed on rectos only. Comb-bound. Near fine in plain cardstock covers. Unusual format, suggesting few were done. [#030868] $125
Princeton, Contemporary Poetry Press, (2013). First published in 1980, this is a new edition, with a foreword by Carlos Fuentes. This copy is inscribed by the author to the Chinese poet Bei Dao: "For the great poet Bei Dao -- on a wonderful meeting and in memory of [?], Mahmoud Darwish, Ramallah and freedom and justice." Near fine in a near fine dust jacket. Laid in is a typescript copy of Hamod's poem "Sabra/Shatilla: In Sorrow," which does not appear in the collection. [#032647] $150
(n.p.), (n.p.), (n.d.). Bound typescript of what seems to be an unpublished novel, by a writer who specializes in murder mysteries set among the wealthy and whose mother, the actress Joan Alexander, was reportedly swindled out of $60 million by her financial adviser. Hitchcock's first novel was nominated for an Edgar Award. Her books chronicle the lives of the New York social elite, typically set in the Upper East Side and in the Hamptons on Long Island. Double-spaced, single-sided, 223 pages. Labeled "First Draft." Comb-bound in plain navy plastic covers. In an envelope address to Peter Matthiessen (but the return address is not Hitchcock's). Several penciled notations in the text in what appears to be Matthiessen's hand, confined to the first handful of pages; fine. [#032288] $150
On Sale: $98
[1976]. A 6-page ribbon-copy typescript (here untitled) of a story about his 22-year friendship with "Lucky Nellie," a mythical sea creature with parallels to the Loch Ness Monster, and their shared tales of lives as fugitives. With the name and address of the recipient typed as a header. Written by Hoffman, one of the leading activists of the 1960s counterculture, while he was living underground, having jumped bail after his conviction on drug charges. Unsigned, but beginning, "Hi, this is Abbie...." Published in Oui magazine in December 1976 as "Loch Ness Nellie Calls on Me: Two Fugitives Issue a Communique, a fable by Abbie Hoffman," and later, with textual variations, in Square Dancing in the Ice Age, a collection of his underground writings, as "In Search of Loch Ness Nellie." Stapled in the upper left hand corner, final page detached. "File: Abbie Hoffman" written in pencil in the upper margin. Near fine. Manuscript material by Hoffman is uncommon. [#032289] $1,000
(n.p.), (n.p.), [ca. 1997-98]. An advance issue consisting of velobound, double-sided typescript. 743 pages. A very uncommon format -- we've seen this typescript once before, but in a different type of binding. It appears to predate any publisher's production of this title; the earlier copy we had seen had been sent to a U.K. reader whose blurb appeared on the U.K. advance reading copy. Velo binding cracked at the front, missing the bottom third; otherwise near fine. [#032786] $450
(n.p.), (n.p.), 2000. An early, tapebound typescript of this novel that was published in July, 2001. No publisher indicated, suggesting this was an early agent's copy, or some other kind of copy prepared prior to the publisher issuing any version of it. Double-spaced, double-sided, 507 pages. "Revised: December 11, 2000" printed on the white front cover/title page. Textual differences exist between this and the published text, beginning with a different table of contents and including changes in the Acknowledgments section of the book. We are aware of another state of this draft that was comb-bound, which was issued by Knopf/Canada. Very near fine. [#030737] $450
(n.p.), (n.p.), 2000. An early, tapebound typescript of this novel that was published in July, 2001. No publisher indicated, suggesting this was an early agent's copy, or some other kind of copy prepared prior to the publisher issuing any version of it. Double-spaced, double-sided, 507 pages. "Revised: December 11, 2000" printed on the blue front cover/title page. Textual differences exist between this and the published text, beginning with a different table of contents and including changes in the Acknowledgments section of the book. We are aware of another state of this draft that was comb-bound, which was issued by Knopf/Canada. Fine. [#032787] $500
Boston/NY, Houghton Mifflin/Harcourt, 2014. An advance copy in the form of 8-1/2" x 11" bound photocopied typescript. Velobound with pictorial cover. Near fine. [#031307] $20
Amherst, University of Massachusetts Press, (1998). An advance copy of this volume of letters and diaries of the Mohegan preacher Joseph Johnson, 1751-1776. 8-1/2" x 11" sheets, printing two text pages to one photocopied page, Comb-bound in plain blue cardstock covers; fine. [#016694] $25
[NY], [Holt Rinehart Winston], 1975. A personalized advance copy of her third collection of poetry. Photocopied pages shot from an uncorrected proof copy, warmly inscribed by the author, and with one poem, "Advice to Myself After Losing My Wallet," crossed out, apparently by Jong. Together with an autograph note signed, on personal stationery, transmitting the sheets and thanking the recipient for some Nabokov books. All items fine in a torn, hand-addressed, postage due envelope. An interesting item from the author of the landmark novel Fear of Flying. [#015617] $250
NY, Knopf, 2002. Unbound photocopied typeset sheets of this collection of 140 of Lane's reviews and criticism from The New Yorker. More than 700 pages; printed on rectos only; stamped "Page Proofs" in lower corners. From the office of a U.K. literary agency, so presumably this copy of the sheets was used in preparation of the U.K. edition of this title. Trifle edge-ruffling; else fine. [#022974] $100
San Francisco, Level Press, (c. 1973). A "transmission" by Leary from Folsom Prison, timed with the arrival of the comet Kohoutek. This is a photocopy of nine pages of typewritten text on five stapled pages. The last page reproduces a hand-drawn yin-yang symbol with eight trigrams around it and references one of the hexagrams of the I Ching -- none of which appeared in the published version of this book, which was done by the Level Press and issued as a booklet; this version presumably preceded. According to Leary's bibliographer and the woman who typed Leary's manuscripts for him, including Starseed, this could have been made from Leary's own typescripts (she would have corrected the typos, she said) and issued in small numbers prior to the formal publication. A similar process took place for Neurologic, which was published in late 1973 but had a stapled, prepublication issue done in May of that year that the bibliographer called a "trial issue." Starseed was formally published in September of 1973, and this version -- if what the principals say is correct -- would likely have been done sometime around the time that the Neurologic "trial copy" was done (Neurologic was formally published slightly later in the year than the Level Press Starseed). In any case, an extremely scarce variant of one of Leary's scarcer books, unseen by the bibliographer or by Leary's typist. Near fine. [#030748] $1,500
(n.p.), (n.d.), (1983). Peter Matthiessen's own copy of this samizdat edition of his controversial and suppressed book about the confrontation between American Indian activists and the FBI in the early Seventies at Pine Ridge Reservation near Wounded Knee that left two federal agents and one Indian dead, and resulted in AIM activist Leonard Peltier being imprisoned for life, convicted of the agents' murder in a case that Matthiessen describes as rife with government malfeasance. Matthiessen, his publisher, and even some bookstores who had stocked the book were the targets of lawsuits brought by two government officials who claimed they were slandered by the hard-hitting book, which made no bones about its advocacy of the Indians' case. Until a landmark Supreme Court decision upholding Matthiessen's (and Viking's) First Amendment rights, the book was shelved with remaining copies of it being pulped; paperback publication, as well as foreign publication, were blocked for nearly a decade. A significant volume, both for the incendiary nature of its content, as well as the First Amendment battle surrounding its publication and suppression. Pirated during the nine years that the book was unavailable through normal channels. Plain white printed wrappers, with just the title and author indicated; comb-bound in an acetate cover. This copy is from the library of Peter Matthiessen. A significant edition of an important book in the history of First Amendment cases. Fine. [#031783] $1,000
Boston, Little Brown, (2002). The bound typescript of this memoir by the novelist, which won the PEN/Martha Albrand Award for the Art of the Memoir. Velobound photocopy; nearly 500 pages; double-spaced, printed on rectos only, with several corrections evident. Velobinding beginning to pull away from the large text block; thus near fine. Scarce state of a well-received memoir. [#031465] $150
(NY), (Harper & Row), (1971). Long galley sheets of this novel, with copyediting/proofreading marks throughout. Folded once, otherwise fine. Scarce. [#011565] SOLD
[Boston/NY], [Houghton Mifflin], [1997]. Comb-bound photocopied typescript of his first novel, set in Indochina in the 1940s, and based in part on the author's family history. 274 pages, double-spaced and double-sided. No publication information. In yellow cardstock covers with the early title Tian's Music. Fine. [#010156] $40
1996. Typescripts of O'Nan's screenplay based on Tim O'Brien's National Book Award-winning Vietnam novel. Two clean copies, each signed by O'Nan on the title page. 126 pages each, and in a Kinko's box that is hand-labeled "Going After Cacciato/ 27 August 96/ Original - Top/ Copy - Bottom." The screenplays are fine; the box has two broken corners. This same year, O'Brien provided a jacket blurb for O'Nan's highly regarded Vietnam novel The Names of the Dead. Several years back it was rumored that Cacciato would be filmed, with Nick Cassevetes as director, and with a different screenwriter. For now, we have only O'Nan's vision. [#029952] $1,750
1969. The photocopied typescript of four poems by Ondaatje that would be collected four years later in Rat Jelly. Given by Ondaatje to Greg Gatenby (later the director of Toronto's annual International Festival of Authors) in 1969 when Gatenby was Ondaatje's student. Includes "Rat Jelly," "Burning Hills" (2 pages), "Near Elginburg," and "Sullivan and the Iguana." All correspond to the versions published in 1973 except for one extra line in this earlier version of "Sullivan and the Iguana." One tiny hand-correction reproduced in "Burning Hills." Pages are folded once; some spotting to pages, mostly on versos, not affecting text. Near fine. Manuscript material from this early in Ondaatje's career is practically unknown in the market, and this group comes with impeccable provenance, only one step removed from the author. [#029953] $1,500
(NY), New American Library, (1966). The uncorrected proof copy of her first book, one of a handful of literary first novels published by NAL during the mid-60s, including John Gardner's The Resurrection and William Gass's Omensetter's Luck. Tall, comb-bound galley sheets. Laid in is a letter sent by editor David Segal to author John Barth, sending him "yet another first novel" and requesting "the pleasure of reading your opinion," as it appears Barth had made it clear that he would not be offering "a quotable quote." A noteworthy letter: Segal took over the newly founded hardcover publishing branch of New American Library, which previously had specialized in paperback publishing only -- notably the Signet and Mentor imprints, which reprinted classics and bestsellers. Segal immediately began publishing literary fiction by young, unknown writers, and in the course of a couple of years introduced William Gass, John Gardner, Michael Shaara, Alice Adams and Cynthia Ozick to the world, all of whom went on to become major American authors. It's a bit surprising that Barth would have been averse to providing a "quotable quote" for the likes of these, but apparently that was the case. This copy is signed by Barth on the first page and with his address stamp on the front cover. Ozick's name was left off the cover and has been added in ink. Mild sunning and curling to the covers; small tear at upper spine; about near fine. A very scarce proof of an important first book, and a copy with exceptionally interesting provenance. [#031477] $1,500
NY, Putnam's, (1977). A working copy of the uncorrected proof, with more than a half dozen of Plimpton's photocopied inserts stapled to existing pages, notations where the inserts occur, and a renumbering of chapters after Chapter 17 is broken in two. "Zeroxes [sic] of Plimpton corrections attached" written on front cover. Handling apparent to covers; reading creases to spine; very good in wrappers. An interesting glimpse of both the work-in-progress and the publication methodology of the 1970s: an artifact of a now long-gone era. [#031745] $500
(n.p.), (n.p.), 1961/1962. Mimeographed typescripts of two one-act plays, which were collected in his 1962 volume entitled Children is All. Inscribed by Purdy on the title page of Cracks to the poet Quentin Stevenson "with the sincere admiration of James" and additionally signed, James Purdy. Children is All (1961) runs 41 pages; Cracks (1962) runs 16 pages. Each is near fine; stapled in the upper left corner. Purdy was a controversial author whose works explored, among other things, gay themes at a time when this was taboo; his popularity and critical reception suffered as a result, but many of his more celebrated contemporaries considered him a genius and a great writer, among them being Tennessee Williams (who wrote a blurb for the book publication of Children is All); Edward Albee (who produced Purdy's play Malcolm); and Gore Vidal, who called him "an authentic American genius" and wrote in the New York Times article entitled "James Purdy: The Novelist as Outlaw" that "Some writers do not gain wide acceptance because their work is genuinely disturbing. Purdy is one of them." As best we can determine, OCLC lists only two copies of the former typescript and one of the latter in institutional collections. Another collection lists "photocopies" of these two plays, but these productions predate plain paper photocopying. Scarce works by a writer whom Jonathan Franzen called "one of the most undervalued and underread writers in America." [#031486] $1,500
(n.p.), (n.p.), 1998. Rigby's hand-corrected typescript of his book on horror cinema in Britain, later published, in 2002, by Reynolds & Hearn. A massive typescript, more than 300 small-type pages, with approximately another 100 pages of appendices. A working copy, heavily revised, and with taped-in sections (which are now separating and so some are laid in). Comb-bound; near fine. A unique copy of this book on British cinema. [#029470] $375
(n.p.), (n.p.), [ca. 1997]. Tapebound typescript of this Booker Prize-winning first novel. 248 pages, 8-1/2" x 11", bound in printed light green cardstock covers, and shot from word-processed sheets rather than typeset ones. No indication of publisher (which, in the U.S., was Random House). After the considerable success of this book in England, where it was reprinted numerous times, Random House decided to do a glossy advance reading copy in pictorial wrappers. Consequently, few copies of the standard proof were done. We are aware of another, "in-house" state of the advance copy, which, if we remember correctly, was also 8-1/2" x 11" tapebound sheets, but typeset and in blue covers and listing the publisher on the inner pages. Uncommon; we've never seen this issue of the book before. Unmarked, but from the library of Peter Matthiessen. Near fine. [#032318] $500
Indianapolis, Bobbs-Merrill, (1968). The galley sheets of this early play by Shepard, his first two-act play. Laid in are the galleys of Elizabeth Hardwick's introduction, dated 1967; Hardwick had reviewed the play for the New York Review of Books. At the time Shepard wrote La Turista, he was a member of the counterculture rock band The Holy Modal Rounders, which had a cameo appearance in the film Easy Rider. Shepard was nominated for an Academy Award for his role as test pilot Chuck Yeager in The Right Stuff; he won a Pulitzer Prize for Drama in 1979 for Buried Child, and he won eleven Obie awards and was nominated for two Tonys, for Buried Child and True West. He received the Gold Medal for Drama from the American Academy of Arts and Letters in 1992. Claspbound, printed on rectos only, front cover tanned and separating; rear cover has date and price and "DUPL NYPL." Front cover has the name of Paul Myers, curator of the Theatre Collection at the New York Public Library. Very good. A fragile and rare early state of this play by one of the most important playwrights of the latter half of the 20th century. The only copy of the proof we have seen. [#027093] $2,500
Undated. A one-page prose poem, typed, and signed "Clark Ashton Smith/Auburn, California." This version of the prose poem differs in a number of particulars from the published version, which was included in The Abominations of Yondo (Arkham House, 1960) and Poems in Prose (Arkham House, 1965). Previously folded in thirds but now in a custom binder, bearing the bookplate of horror writer Stanley Wiater, from whose library this came. Fine, with a letter laid in to Wiater from Roy Squires, the noted science fiction collector and dealer, from whom Wiater purchased it. Squires' lengthy letter comments extensively on the appallingly high prices "being asked -- and paid -- for the more desirable Arkham House books," in 1972, and then goes on to justify the high price Wiater had just paid for the Clark Ashton Smith manuscript, and says that he knows of only four prose poem manuscripts by Clark Ashton Smith in existence -- this one; one that he himself still had; and two that Smith's widow had at that time. A rare typescript by one of the most important American horror writers of the 20th century, with a long, illuminating letter from one of the great collectors and dealers in the field, and from the library of a horror writer who has been a three-time winner of the Bram Stoker Award, given by the Horror Writers of America. [#029000] $5,500
1991. A two-page photocopy of Snyder's bio, recounting travels, influences, jobs and interests. With brief bibliographical checklist. Folded in half; near fine. From the collection of Clayton Eshleman, and probably given by Snyder to Eshleman who would have introduced him at his 1996 reading in Ypsilanti. [#030821] $80
(Presidential Aspirations)
(n.p.), (Harper's Magazine), (1974-1975). In 1974, Harper's conducted an "unscientific poll of interested parties," to be published in the March 1975 issue, on the subject of when the respondents stopped wanting to be President. Included here are the original, typescript replies of Theodore Sorensen, former Special Counsel (and speechwriter) to President Kennedy; Eugene J. McCarthy, former Minnesota Senator, who ran for President in 1968 (Democrat), 1972 (Democrat), 1976 (Independent), 1988 (Consumer-Progressive) and 1992 (Democrat); Kevin Phillips, Republican Party strategist (later an Independent) and author of The Emerging Republican Majority; and Kevin H. White, Democratic Mayor of Boston. White, over three pages, doesn't answer the question, but rather muses on the institution of the Presidency and the responsibilities inherent in and potential abuses of political office; Sorensen dates his decision to never be President to the birth of his daughter and his desire for privacy. His one-page answer concludes with a plea for "public financing and other campaign reforms" some time in the next three decades (a span that must have seemed adequate at the time). Phillips full-page response blames Johnson, Nixon and his "twerps," and Ford for his disillusionment with the institution. McCarthy, in a 2-page response, doesn't acknowledge giving up being willing to be President and suggests that by 1976 he may even start wanting to be. All the responses are unsigned, copyedited in pencil, and have a brief author bio added in pencil. All have been folded, apparently for mailing. With a (copyedited) cover page typed on the verso of Harper's stationery. The lot is near fine or better. An interesting look at politicians and other prominent individuals with political backgrounds commenting on the institution of the Presidency as well as their own political ambitions or lack thereof. [#029708] SOLD
Boston/NY, Houghton Mifflin, 1997. His first collection of stories, spanning the years 1969 to 1997. Bound galley sheets; 8-1/2" x 11"; tapebound in cardstock covers. Presumably produced for in-house use only; we've never seen any indication of these having been distributed outside the publishing house. Fine. [#008297] $175
[Boston], [Houghton Mifflin], [1974]. The photocopied typescript of Stone's 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 -- the official corruption and the underside of the drug experiences of a generation. Bearing the [now crossed out] working title: Skydiver Devoured By Starving Birds. The title appears in a scene in the novel; it also appears in Stone's memoir, in an account of his time working for a tabloid newspaper where the writers were given headlines made up by other writers and had to create stories around them. The one time it appeared in print was in the excerpt from Dog Soldiers that appeared in the newsprint literary magazine, Fiction, in 1973. Stone's piece was called "Starving Birds" and at the end was identified as being from "Skydiver Devoured by Starving Birds." According to a 1987 letter of provenance, this copy was generated by the publisher and sent to the Book of the Month Club for early consideration for possible book club adoption. The pages bear, at the bottom, a torn Book of the Month Club filing sticker. 318 pages, plus cover sheet. The cover sheet and the letter of provenance are each signed by Robert Stone. The quality of the paper varies: several sheets have the blue tone of a mimeo. Near fine or better, in the bottom half of a manuscript box and the folding cardstock case of the Book of the Month Club, at this point more artifactual than protective. As far as we can tell, a unique copy of this award-winning novel, the basis for the highly regarded fillm Who'll Stop the Rain? [#033357] $1,500
(n.p), (n.p.), [ca. 1983]. In 1983, Robert Stone, National Book Award-winning novelist, was commissioned to write a piece on George Orwell and his dystopian novel Nineteen Eighty-Four, as that calendar year approached. In the piece, Stone made an effort to reclaim Orwell from the conservative right wing, which had taken his most famous, anti-totalitarian novels -- Nineteen Eighty-Four and Animal Farm -- to be explicit condemnations of the Soviet Union and Communism, and by implication all leftist thought itself. Instead, Stone argues that Orwell's writing in Homage to Catalonia -- not to mention his fighting on the Republican side in the Spanish Civil War -- identifies Orwell as someone with both a socialist sympathy and "a certain affinity with what I believe is best about the United States," a kind of Puritanism that is characterized by "rectitude...conscience and common sense." He goes on to point out that Orwell "was the sort of radical who makes enemies on both sides of epic struggles," owing to his "originality and intelligence, [and] above all his thoroughgoing honesty, [which] always got him in trouble. A writer and man more predictable and dull, less infernally scrupulous would have had a better time of it." Stone adds that Orwell was idealistic but non-ideological -- as Stone was himself -- and deeply committed to the kind of "pragmatism that has characterized American moral thinkers from Jefferson to James to Neibuhr." He concludes that "We may never produce a greater political novel than Nineteen Eighty-Four" and that "it has done its work for us" in shaping our fears and cautions sufficiently for us to have avoided the totalitarian dystopia that was latent in the post-War years of the Cold War. The confluence of writer and subject here was, in many ways, a near-perfect one but the piece seems never to have been published; we can find no record of it; a cover letter from Stone's wife, Janice, indicates this was done for Thames Television, but whether it was produced or used remains unknown to us. One of Stone's novels includes an allusion to a critical moment in Nineteen Eighty-Four: Stone's character explains that one has "to look the gray rat in the eye" -- an allusion to the torture by rats that Winston Smith, in Nineteen Eighty-Four, is faced with, which causes him to "break" and betray himself and his loved ones. 18 pages, ribbon copy typescript, with Janice Stone's cover letter, laid into an agent's folder. Fine. An unknown Robert Stone piece, on a subject that touches close to many of the central and pervasive themes of his own writings. Unique. [#032829] $8,500
(Comics)
(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
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Signed Books for $19 From the Library of Robert Stone