E-list # 165

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] SOLD

1982. November 15, 1982. Written to three Yale University English professors, accepting an invitation to a 1984 "Commonwealth of Letters" conference in which Achebe's work was slated to receive special attention. "But even without that peculiar attraction the project sounds so rich and so far away that I should have no hesitation in accepting to be there." Signed by the author. Typed on the stationery of Okike, an African journal of new writing that Achebe edited. Notation of one of the professors that the other two had been copied; folded in thirds for mailing with a couple small edge chips; near fine. [#029904] SOLD

(North Andover), Kat Ran Press, 1998. Autobiographical poems by the Dominican-American author of How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, among others. With lithographs by Sara Eichner. One of 50 numbered copies of a total edition of 65 signed by the author and the artist, hardbound in handmade flax paper by David Bourbeau of the Thistle Bindery. The second publication by this press, an elaborate production that sold for nearly $1000 at publication and has been out of print for years. Eichner has since become one of the more collectible artists working today. An attractive and uncommon volume. 11-1/2" x 16-1/4". Fine, in the original clamshell case, with a bit of dust soiling, with publisher's prospectus laid in. [#914607] $1,500

1992. A 7-page dot-matrix print-out of a letter by Anderson defending himself against a series of complaints made against him as a faculty member at Boise State University. Together with an unsigned cover letter from 1993 expressing, among other things, a wish he could publish the letter and a tirade against "the new thing, the E-mail," and its allowing people to hide behind a curtain like the Wizard of Oz. Also together with four of Anderson's reviews as a faculty member, three of which have Anderson's holograph annotations (e.g., "don't know how she got this guy in her pocket"). And also together with, and paper-clipped to his faculty reviews, the Pablo Neruda poem "Guilty," on which Anderson has written: "I make my 'Creative Writing' students memorize this for their mid-term." Not signed on the preceding items, but with a 1993 letter of transmittal signed by Anderson, saying, among other things, that he expects he'll be in Boise a few more years "before [they] manage to get rid of me." Rust from paperclips; otherwise all items fine. [#031324] $450

1993. Anderson's dot-matrix printout of a draft of what became the prologue and first chapter of his second novel. 24 pages, with extensive differences between this version and the published version. With a handwritten signed note by Anderson across the top of the first page, saying, in part, that he thinks the novel will be finished in another six weeks. Night Dogs was one of the most eagerly awaited novels of its time, but its publication was delayed as different publishers vied for it but no deal was reached for the publication rights. It was finally published in 1996 by Dennis McMillan, a small press/fine press publisher, primarily of limited editions. Later, in 1998, there was a publication by a major trade publishing house, Bantam, which had merged with Doubleday, the publisher of Anderson's first novel. This is a very early segment of the work-in-progress. Marked by a rusty paper clip, else fine. [#031325] SOLD

(Brewster), Parenthese, (1977). The limited edition of this title, which had a total printing of 750 copies; this is number 6 of only 20 numbered copies signed by the author and the illustrator. Fine in stapled wrappers and dust jacket. One of the smallest limitations of an Auster work, and extremely scarce these days. [#911002] SOLD

(Berkeley), The Figures, (1976). The lettered limited edition of the second book, a collection of poetry, by the author of The New York Trilogy, among many other novels, poetry collections, essays, and screenplays. Published in an edition of 526 copies, this is Copy "R" of 26 lettered copies signed by the author. Drenttel A2. Uncommon. Fine in wrappers. [#911001] SOLD

London, Gollancz, 1962. The uncorrected proof copy of Ballard's second book, which he later called his "first novel" after disavowing The Wind From Nowhere as "a piece of hackwork." Signed on the title page by Ballard. In this novel, global warming has rendered most of Earth uninhabitable, making The Drowned World not only one of the great works of dystopian fiction, but one of the earliest works of climate fiction. Tapebound, in unprinted wrappers; spine slant to text block; near fine in a near fine, mildly spine- and edge-tanned proof dust jacket with a "0/0" price on the front flap. Scarce: we have never seen another proof copy of this, nor any earlier Ballard proof (i.e., of The Wind From Nowhere), and can find no indication of institutional holdings in OCLC, nor any auction records for a proof copy. A rare, perhaps at this point, unique, state of a seminal novel in a genre that is only now melding into the field of mainstream literature, outside of the genre of speculative science fiction. [#033324] SOLD

(NY), Berkley, (1962). Ballard's first book, a paperback original published in the U.S. prior to its publication anywhere else, that Ballard later omitted from lists of his works, calling it "a piece of hackwork." Signed by the author. Cover copy: "London and New York reduced to rubble as nature goes mad..." Opening line: "The dust came first." One of the founding texts of the genre of contemporary climate fiction, written at a time when the theme still felt somewhat safely speculative. Ballard became one of the most respected novelists to begin publishing in the 1960s, bridging the gap between the Beats and counterculture and the science fiction genre, and then later winning the Booker Prize -- the U.K.'s most prestigious literary prize -- for his autobiographical novel Empire of the Sun. Mild, even toning to pages; trace rubbing to edges; near fine. A landmark book, and extremely uncommon signed. [#033611] SOLD

London, The Fabian Society, 1889. Inscribed by contributor Annie Besant to her son, (Arthur) Digby Besant (twice) in April, 1890. With Digby Besant's ownership signature and bookplate. The volume was edited by George Bernard Shaw. Besant's contribution is titled "Industry Under Socialism." Besant was a socialist, theosophist, women's rights activist, and an early supporter of, and speaker for, the Fabian Society. In 1890, the year she gave her son this book, she met Helena Blavatsky, founder of the Theosophical Society; after Blavatsky's death in 1891, Besant became one of the leaders and key figures in the theosophical movement, which eventually split into several factions, and also led to the Anthroposophy movement, when Rudolph Steiner, another leader in the Theosophical Society, broke away from it. Spine and covers darkened, with wear to the joints; a good copy, and a unique family association copy. Books signed by Besant, one of the most prominent female activists of the 19th and early 20th centuries, are uncommon. [#033604] SOLD

(Gaithersburg), (Signature Book), (2012). Apparently a self-published anthology by Pedley (printed at Signature Book) of Native American writings on Alaska, with contributions by Fred Bigjim, Mary TallMountain, Nora Dauenhauer, Jim Schoppert, Edward Jackson Anawrok, and Glen Simpson. Quarto, featuring color photographs of Alaska by Pedley and commentary by him on the individual poets and their writings, and an introduction by Bruchac. This copy is signed by Pedley on the title page and inscribed by Pedley to Bruchac on the front flyleaf: "Joseph -- Many thanks for giving the book such a distinguished beginning! Bob/ 4-18-12." Fine in a fine dust jacket but for a corner crease to the front flap. A beautiful and little-known production: we could find no copies listed online or offered for sale anywhere, and suspect the book was privately printed and received little or no distribution. [#030130] SOLD

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

Chicago, Grace Gassette, ca.1915. An invitation to an exhibition of paintings by Grace Gassette, which includes only one tipped-in color plate, that being Gassette's "Portrait of John Burroughs." The portrait is 4-1/2" x 4-7/8" and is tipped into a card that is 5-3/4" x 7-3/8" when closed. "Painted at Roxbury, N.Y." (likely Burroughs' summer residence, Woodchuck Lodge); the show was held at Gassette's studio in Chicago's Fine Arts Building. In addition to being an artist, Gassette was renowned for her work with wounded soldiers in France during WWI. Fine, with fine, unused, mailing envelope. [#033326] SOLD

(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] SOLD

London, John Calder/Olympia Press, (1963). The uncorrected proof copy of this drug novel, which consists of an amalgam of sections from The Naked Lunch, The Soft Machine and The Ticket that Exploded, as well as some material not reproduced elsewhere. Inscribed by Burroughs "For Richard Aaron" on the half title. Also on the half title, in another hand: "M. Farmer. Reading copy. Publication date: Oct. 31st, 1963." Published at the height of Burroughs' experimentation with the cut-up technique, this volume embodies that approach, as well as anticipating the later variation of it that we now call "sampling." A good association copy: Richard Aaron was, among other things, the person who negotiated the sale of Burroughs' literary archive to Robert Altmann of Liechtenstein. There was no U.S. edition of this title. Near fine in plain green wrappers, in a very good dust jacket, which differs from the published jacket by virtue of being trimmed to a shorter height and having had the flaps trimmed as well. [#033065] SOLD

London, Bruce and Watson, (1973). First hardcover edition of this title, published in an edition of 1500 copies. Variant brown cloth -- M&M describes black cloth, and olive green cloth has also been noted. Inscribed by the author to Bob Jackson in 1984. Fine in a near fine dust jacket. An uncommon edition, especially signed (and signed authentically). [#033085] $3,000

London, John Calder, (1964). The first British edition. Inscribed twice by Burroughs, first to Richard Aaron, undated, and then to Bob Jackson in 1984. As such, a double association copy: Jackson purchased Burroughs' literary archive, the so-called "Vaduz archive," from Roberto Altmann of Liechtenstein, when Altmann's plan to use Burroughs' work as the basis for an avant garde art institute in Vaduz had fallen through; Aaron had negotiated the sale to Altmann. Presumably Jackson bought the copy already inscribed to Aaron, and then had Burroughs inscribe it again to him. Since they are the two people most involved in the sales of Burroughs' papers, and the preservation of his archive, it is a copy that resonates with literary history. The first printing of this edition was 4000 copies. Near fine in a near fine dust jacket. [#033096] SOLD

Paris, Olympia, (1959). The first issue of the first edition of his second book, a high spot of Beat and postwar American literature -- one of the three key volumes of the Beat movement, along with Jack Kerouac's On the Road and Allen Ginsberg's Howl. Published only in paperback in Paris by Maurice Girodias' important and risk-taking small press, in an edition of 5000 copies, three years before it could be published in the U.S. Signed by Burroughs in 1996. Uneven sunning and a bit of creasing to the covers; rubbing to the folds. A very good copy in a supplied, near fine dust jacket with a small chip at the crown. Burroughs signed this for a bookseller in Lawrence, Kansas, where he lived during the last years of his life. [#024504] SOLD

NY, Entermedia, 1978. The program for three days of performances, film, readings and discussions honoring Burroughs' and his writings in 1978, when he first returned to the U.S. after many years of living in London and Tangier. Signed by William Burroughs and by Phillip Glass. Glass performed "New Piece for Electric Organ," which a teenage attendee -- Thurston Moore, later of Sonic Youth -- described as "idiosyncratic high-speed minimalist pianistics [which] was natural, gorgeous and sublime." Other participants included a virtual Who's Who of the American avant garde and underground: Brion Gysin, Patti Smith, Laurie Anderson, Kathy Acker, Timothy Leary, John Giorno. Ed Sanders, Allen Ginsberg, Anne Waldman, Merce Cunningham, John Cage, Terry Southern, Robert Anton Wilson, filmmaker Kathryn Bigelow and others. Keith Richards was listed but didn't appear; Frank Zappa filled in by reading "The Talking Asshole" from Naked Lunch. Robert Palmer reviewed the event for the New York Times and wrote that the Glass piece was "as conservative in its language and as rigorous in its organization as Mr. Burroughs's first novel, 'Junkie,'" and that Patti Smith's "was more in the tradition of the cut-ups; it celebrated attitude, style, and the kind of 'holy accidents' that visionary artists have long cultivated." At least two films of the event have been released, and one record album and cassette, and portions of it have been restaged over the years: it was self-consciously understood by the participants to be a landmark of its time. The cover prints a seven-line quote from Burroughs, which as usual seems to anticipate the future -- our present -- in terms practically no one but he would have come up with, about surviving the age of Nova, "with Nova conspiracies, Nova criminals, and Nova police" and a "new mythology in the Space Age, where we will again have heroes and villains, as regards intentions towards this planet." Twelve pages; fine in stapled wrappers. An uncommon and ephemeral piece documenting a major cultural event, seldom found signed by the central figure of the convention, and here also signed by one of the performers, himself a major American composer. [#033218] SOLD

1990. A sketch by Dupuis of Burroughs' Mugwump creature, from his book Naked Lunch, but never brought to life until David Cronenberg's 1991 film version, for which Cronenberg had Dupuis design the Mugwump with Burroughs' posture and the visage of a junkie. Dupuis had won an Academy Award for Makeup for his work on Cronenberg's film The Fly. A signed sketch by Dupuis, matted together with William Burroughs' signed unicorn bookplate. The sketch is roughly 8" x 10"; the bookplate 4" x 5"; matted to 13" x 21-1/2". Fine. Unique. [#033092] SOLD

Frankfurt, Zweitausendeins, 1980. A unique author's copy of the first German edition of The Wild Boys, bound in full leather with a snakeskin onlay, and inscribed by Burroughs to the illustrator, S. Clay Wilson. Also signed by Wilson, with a note about the binding. Embossed initials of W.S.B. on the rear cover, with samples of the materials used in the binding tipped-in at the rear endpaper. Several scratches to the leather on the rear cover, else fine, in a folding cloth chemise. [#033128] SOLD

1982. Three original pen-and-ink S. Clay Wilson illustrations for the German edition of Burroughs' Cities of the Red Night. Wilson was one of the group of artists who gained exposure in the underground comix of the 1960s counterculture. After R. Crumb, he is probably the best known of that group, and his images are almost certainly the most extreme: all of the underground comic artists sought to break barriers and defy convention, and Wilson's images are densely packed and full of overt sex and violence to an extreme degree. In this he was very much like Burroughs, whose verbal imagery and subject matter sought to shatter barriers, preconceptions and hypocrisies; the collaboration between the two of them seems in retrospect to have been inevitable. These drawings were displayed at the Los Angeles County Art Museum in the show "Ports of Entry: William Burroughs and the Arts," which sought to convey the influence Burroughs had had on visual arts. Extraordinary images, and probably the best illustrations ever of Burroughs' writings. Burroughs himself appears as a character in one of the images. Two of the images are 5-1/4" x 9", the third is 5-1/4" x 10"; all three are matted and framed to approximately 16" x 19". Fine. [#027316] SOLD

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

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

(Paris), Falaize, (1952). An out-of-series copy of this bilingual edition of 3000 numbered copies of Wilde's poem, printed here with Camus' "L'Artiste en Prison," which delineates Wilde's journey from themes of ideal beauty to existential suffering. Inscribed by Camus (in French): "to Sylvestre,/ a remembrance of Iguape/ and with the friendly thoughts/ of Albert Camus." While context does not give explanation to the reference to Iguape, one of Camus' last stories, "The Growing Stone" -- the final story in Camus' last collection, Exile and the Kingdom -- is set in Iguape, Brazil. It has been said that this story is the clearest manifestation of Camus' ideals: in it, the protagonist sacrifices himself to help a friend, and behaves morally despite his own understanding of the absurdity of the world. Camus won the Nobel Prize for Literature in 1957, the year Exile and the Kingdom was published, and the Prize committee cited his "clear-sighted earnestness [which] illuminates the problems of the human conscience in our times." As best we can tell, this is the first appearance in print of "L'Artiste en Prison," which was translated into English and published in Encounter magazine two years later. A very near fine copy in French wraps. Books inscribed by Camus are uncommon; the author died in 1960 in a car accident, at the age of 46. [#030104] SOLD

(London), Picador/Pan, (1985). Inscribed by Carver to Robert Stone: "For Bob - with admiration and good wishes always. With love and in friendship -- Ray. July 22. Port Angeles!" This was the first publication in Great Britain of Carver's collected fiction, this being a volume with no U.S. equivalent, and including all three of his major collections: Will You Please Be Quiet, Please?; What We Talk About When We Talk About Love; and Cathedral. Uncommon signed, and an excellent personal and literary association copy: Stone visited Carver in Port Angeles, Washington, and the two got on well, went fishing together, and generally found a quick and easy rapport. Stone won the National Book Award for his second novel, Dog Soldiers, in 1975; Carver's first collection -- Will You Please Be Quiet, Please? -- was a National Book Award finalist in 1977, and his influence on the American short story continued until his death in 1988. Only issued in wrappers. Age-toned, foxed, and spine-creased; about very good. [#033666] SOLD

NY, Random House, (1985). Inscribed by Carver to Robert Stone: "For Bob, with hopes you'll find some of these to your liking. With love, Ray. Port Angeles. July 22, 1985." A collection of poetry. Mild foxing; near fine in a very good, partially faded dust jacket with one short edge tear and a creased front flap. A good association copy. [#033665] $1,500

(Santa Cruz), (Kayak Books), (1970). The rare white issue of Carver's first regularly published book (after Near Klamath, published by the English Club of Sacramento State College). Kayak Books was a small but established publisher, which produced a literary magazine as well as issuing books of poetry. Winter Insomnia is a collection of poems, designed and printed by George Hitchcock and illustrated with prints by Robert McChesney. Issued in an attractive edition of 1000 copies, the overwhelming majority (perhaps more than 99%) were issued in yellow wrappers. William Stull's Carver checklist said that three copies were known in the white wrappers. Since that checklist was published, we have seen three more copies in white wrappers, including this one, bringing the total number of known copies to six. Without knowing exactly how many white copies there were, we can say with assurance that this issue is exceedingly scarce; we've seen dozens, if not hundreds, of the issue in yellow wrappers. This copy is inscribed by Carver: "For Rush - with good wishes. Ray Carver. 3-3-83." Spine and edge sunning to covers; near fine. [#914629] $3,000

London/NY, Jonathan Cape/Summit, 1977/1978. A hardcover advance proof copy of the American edition of Chatwin's first book, created from a first British edition, with the addition of a U.S. proof dust jacket, featuring quotes from British publications (including Paul Theroux, writing for the London Times). The British trade edition has had its free endpages excised and pasted over the pictorial pastedowns; and the photographs that graced the text of the British edition have also been excised, in keeping with the appearance of the American edition. This copy was obviously sent out and used for review: reviewer's marks and comments in text, and the blank jacket flaps have been filled with the reviewer's notes. The book, apart from the intended excisions and notes, is fine; the proof jacket (again, apart from the reviewer notes), is spine and edge-sunned, with the title and author handwritten on the spine, largely faded; overall near fine. An uncommon issue, presumably done prior to the issuance of an American proof copy and different from the U.K. first edition in ways that parallel the eventual U.S. edition (and U.S. proof). [#031672] $750

(NY), Ecco, (2006). Second printing of the first American edition. A collection of poems, prose poems and drawings, his first such collection in over 20 years. Inscribed by the author to Robert Stone and his wife: "For Janice and Bob/ suffering together/ Leonard." Dated in Washington in 2006, when Cohen and Stone were both at BookExpo America. One slight corner tap, else fine in a fine dust jacket. Cohen was a folk hero, known as much -- or more -- for his music and songwriting as for his literary writing; the inscription reflects both the darkness one finds in his work as well as the humor, both of which traits he shared with Stone. A wonderful association copy. [#033791] SOLD

[Seattle], Incunabla, 2007. The lettered limited edition of this poster, a broadside excerpt from Crowley's 1981 novel Little, Big, issued in conjunction with what was to be the 25th anniversary edition of Crowley's World Fantasy Award-winner, which was not published until 2021. A 24" x 37" poster, with art by Peter Milton, whose haunting drawings, etchings, engravings and prints are to grace the new edition. When Little, Big was first published, Ursula Le Guin famously wrote that "all by itself it calls for a redefinition of fantasy"; Thomas Disch called it "the greatest fantasy novel ever." The literary critic Harold Bloom listed three books by John Crowley, including Little, Big, in his book The Western Canon. Bloom is listed as providing an introduction to the anniversary edition of the novel. One can get a sense, from this poster, of the aesthetic of the anniversary volume. One of 26 lettered copies, this being letter "L," signed by John Crowley, artist Peter Milton, editor John Drummond and book designer John D. Berry. Rolled; else fine. A scarce artifact of a prolonged publishing project and labor of love, associated with one of the best-loved and most highly regarded fantasy novels of all time. [#029580] $750

1980. Long galley sheets for Dick's novel VALIS (Vast Active Living Intelligence System), a 1981 paperback original. The VALIS galley sheets 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. 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. As far as we can tell, unique. [#032867] $8,000

1978. A full-page typed letter signed from Dick to Hazel Pierce, author of the Philip K. Dick Starmont Reader's Guide (1982), in which Dick directs her how to get permission to quote from his work; agrees to meet with her; confesses the project appeals to his vanity; and divulges that a speech of his to which she apparently has access was intended for a French audience, and "When I write something for France, or am interviewed by the French, I always make startling claims which I can't back up, knowing that French scholarship does not require the empirical validation of the Anglo-Saxon world's methodology." Included is the original mailing envelope: Dick has written his phone number on the back. Pierce's reply is included, in which she sent Dick a 3-page chronology of his life for correction and an additional page of 14 questions for him to answer, in a fill-in-the-blank style. Dick's handwritten corrections and responses, approximately 30, are included. For example, he fills in the last names of his wives, some significant dates, answers that the Western writer Will Cook was an influence on his writing, and notes that his work in progress is "VALIS." This chronology was included in Pierce's guide, which was published shortly after Dick's death. The letter appeared in Dick's Selected Letters. Stray pen mark on the text of Dick's letter; mailing folds and mild age-toning; otherwise the lot is fine. A notable piece of what might be called Dick-iana. Unique. [#033009] $5,000

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

Dillard, author of Pilgrim at Tinker Creek, Holy the Firm, and For the Time Being, among many others, has painted a portrait of Primo Levi, author of Survival in Auschwitz and The Periodic Table. Dillard has reportedly stopped writing, dedicated her time to painting instead. Signed "Annie Dillard" in the lower left corner. No date, 6" x 8-1/2". Fine. [#032762] SOLD

London, Peters Fraser and Dunlop, 1990. Stoppard's "Revised First Draft" screenplay for the film based on Doctorow's novel, released in theaters in 1991, directed by Robert Benton and starring Dustin Hoffman, Bruce Willis, Loren Dean, and Nicole Kidman. Included is a Paramount Pictures internal memo from the year before, summarizing the novel and weighing the challenges of bringing it to the screen, and concluding, "Despite the difficulties here, if a way can be found to bring Billy's journey to the screen with even some of its force and vision intact, this could make a compelling, classy, big film." Paramount, however, ultimately passed on the idea: the film was released, with a Stoppard screenplay, by Touchstone Pictures. The memo is stapled once and folded once; near fine, laid into the screenplay, which is bradbound in plain blue cardstock covers with a small abrasion on the front and a wrinkled corner on the back; near fine. The title is written on the spine and foredge. An interesting look at Hollywood's take on a classic literary novel, and a look at an early version of the film: difficulties in adapting the material to the screen -- as suggested in the Paramount memo -- led to changes in the storyline that caused Doctorow to distance himself from the film, and presumably contributed to the film's relatively poor critical reception and commercial success. Uncommon. [#032280] SOLD

[NY], [HBJ], [(1978)]. Ivan Doig's own set of page proofs of his first publication for the general book trade. Signed and titled by Doig on the dedication page (the first sheet present) and with several corrections in his hand. Numbered to 314 pages, printed on rectos only; roughly 7" x 9" sheets, in a 3-ring binder. With a signed letter of provenance from Doig, on his stationery, attesting to the set as being from his archives and with his corrections. A memoir of growing up in Montana with his father and grandmother, This House of Sky: Landscapes of a Western Mind was voted one of the five best books ever written on Montana; it won the Christopher Award and was a finalist for the National Book Award. Doig also received a Distinguished Achievement Award from the Western Literature Association. Tape to copyright page and a few paper clips scattered throughout; else a fine set. A unique copy of a modern classic, with impeccable provenance. [#030111] SOLD

NY, Atlantic Monthly, (1987). The first collection of stories by the Pulitzer Prize-winning author of Independence Day. Inscribed by Ford to Andre Dubus, himself a master of the short story form: "with long-overdue admission of my admiration for your wonderful work. I hope some day we meet. I hope your work flourishes, as it has." Trace foxing and bumping; near fine in a very near fine dust jacket with a bit of fading to the spine lettering. A nice association copy between two of the preeminent fiction writers of their era. [#033255] SOLD

Undated. An 8" x 10" black-and-white glossy photo of the Nobel Laureate, taken during the Rolling Thunder Revue tour in late 1975 or early 1976, with Allen Ginsberg in the foreground. Ginsberg was on the tour for most of the 1975 dates but seldom performed his readings or recitations; he did typically join Dylan and others for the finale of Dylan's set, a performance of Woody Guthrie's "This Land is Your Land." Signed by Dylan. Signature in blue ink across the dark shadows on his face, not readily apparent. Fine. A nice memento of a legendary musical odyssey and, with Dylan's barely visible signature, perhaps another indication of the performer's famous ambivalence toward fame as well as toward his audiences, including the person for whom he autographed this photo. [#029870] SOLD

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] SOLD

(n.p.), McSweeney's, (2000). A painting of a wolf by Eggers, executed on the previously blank dust jacket of Timothy McSweeney's Issue No. 5. Signed (initialed) by Eggers. With an additional drawing by Eggers on the front flyleaf, of a scarf, which is captioned "I hate this guy." Eggers, known for his memoir A Heartbreaking Work of Staggering Genius, his novels and nonfiction works with themes of social justice, his founding of the McSweeney's empire, and his nonprofit work with childhood education, has at various junctures also been a painter, a cartoonist, or an illustrator. He often pairs animals with simple, or Biblical, text: in 2010 he published a collection of these entitled It is Right to Draw Their Fur. Issue No. 5 was the first hardcover issue of Timothy McSweeney's Quarterly Concern, and it was issued in three variant bindings and four variant dust jackets. This is the Ted Koppel binding with the previously blank white front. In addition to Eggers' artistic contributions, it is signed by Susan Minot, Ben Marcus, Ben Greenman, Sarah Vowell, and Paul LaFarge. Tiny lower board nick, else fine in a very near fine dust jacket. [#032949] SOLD

Baton Rouge, Louisiana State University Press, 1996. Photographs of authors, artists, musicians and politicians, from the last quarter of the 20th century, emphasizing "individuals whose lives and works nourish America's historic dream of freedom, justice and human decency... [and] are not afraid of controversy or challenging the status quo." Subjects of the photographs tend to be from the counterculture or the artistic fringes rather than the mainstream, although a number of them such as novelist Kurt Vonnegut, naturalist and writer Peter Matthiessen, and environmentalist David Brower, became important forces in the mainstream culture. Many of the key figures of the Beat generation are included, and a large number of artistic and musical innovators as well. This copy is signed by a number of the subjects of the photographs, including Timothy Leary, Toni Morrison, David Byrne, and by Douglas Brinkley, who provides an introduction. In addition, signed three times by gonzo journalist Hunter S. Thompson (once with "Fear Shock & Awe! 2003" and once with "Fear Bush/2003"); signed twice by counterculture icon Ken Kesey; and also signed by folk music legend Joan Baez. Corners slightly tapped, else fine in a fine dust jacket. A unique copy. [#031739] SOLD

(North Sydney), Knopf, (2008). The advance reading copy of the true first (Australian) edition of this novel by the winner of the Man Booker Prize for The Narrow Road to the Deep North. Inscribed by the author in Tasmania in 2008 to Peter[Matthiessen], "who led me to the spirit of Rilke, and much else besides -- warm wishes. Richard Flanagan." Several notations by Matthiessen in text; near fine in wrappers. An uncommon advance copy and an excellent association copy. [#031386] SOLD

London, Jonathan Cape, (1956). His fourth James Bond novel. Shallow dampstaining evident on lower boards; near fine in a very good dust jacket with minor rubbing to the edges and the folds and a small architectural drawing on the verso. In a custom, quarter leather clamshell case. [#033623] SOLD

(n.p.), (Grenfell Press), (1999). A fine press limited edition: one of 35 copies of the first book publication of this story, which first appeared in the New Yorker and was later published in Ford's collection A Multitude of Sins, with several small changes to this text. An elaborate and elegant production by one of the premier fine presses in the country, with seven etchings by artist Jane Kent. This is Copy No. 21 of 35 copies, and is signed by both Ford and Kent. Unbound folios, 10-1/4" x 15-1/2", with tissue guards protecting each of the etchings, and all laid into the publisher's clamshell case, which was made by Claudia Cohen. A fine copy, offered at the publisher's price. [#911206] $5,000

NY, Farrar, Straus & Giroux, (2001). An advance audio excerpt from his then-forthcoming novel The Corrections, along with excerpts of ten other books in FSG's Fall 2001 line-up. Cassette tape, signed by Franzen on a small label affixed to the printed cardstock sleeve. Fine. The Corrections won the National Book Award and is consistently cited as one of the top books of the 21st century's "new canon." An unusual advance issue for a literary novel, and likely the only signed copy. [#029924] $125

London, British Museum of Natural History, 1968. Vol. 3, No. 6 of the Bulletin of the British Museum's Historical Series, printing the notes and summary that Darwin recorded while observing the flight routes of male humble bees, with his children, between 1854 and 1861. The summary was discovered, translated into German, and published in 1886; later published in English in 1965 (according to the introduction to this piece, by R.B. Freeman). This seems to be the first published version of Darwin's notes. Signed by Richard Freeman on the front cover, with the notation: "Part of this is a Darwin 'first' so you may like to have it/ I have sent one to Down House." Down House is the former home of Charles Darwin and his family. Very mild discoloration to covers; near fine in stapled wrappers. [#033620] SOLD

(Santafé de Bogotá), Editorial Norma, (1997). The thirtieth anniversary edition of the Nobel Prize winner's masterwork, one of the most important novels of the 20th century, which introduced "magical realism" to a wide audience and helped bring the boom in Latin American literature to this country when it was published in the U.S. in 1970. At the end of the 1970s this book was voted by the editors of The New York Times Book Review to be not only the best book published in the previous ten years but the one most likely to still be read and to still be important one hundred years hence. Copy #XLV of 100 Roman-numeraled copies signed by the author. Bound in full leather with raised spine bands. Fine in slipcase, still shrinkwrapped. A true high spot of twentieth century world literature, an uncommon signature (Garcia Marquez limited his travels to the U.S. after a State Department ban imposed on him because of his friendship with then-Cuban leader Fidel Castro), and a rare edition of one of the defining books of the century: the only signed limited edition of this title. [#033014] SOLD

London, Cape, (1977). The uncorrected proof copy of the first British edition of Garcia Marquez's first novel after the worldwide success of One Hundred Years of Solitude. An ambitious, experimental novel: 269 pages in six chapters, each of which is a single paragraph of extended sentences, with each of the chapters a retelling of the story of the power held by his fictional dictator. This copy is inscribed by the author on the half-title: "Para ____ Con todo mi afecto, Gabriel, 2001." Very modest dust soiling to covers; near fine in wrappers. An uncommon proof and especially so signed. [#027204] SOLD

Garden City, Doubleday, 1968. A collection of pieces by the comedian and activist, edited by James R. McGraw. This copy is inscribed by Gregory to the singer Carmen McRae. Gregory and McRae shared a billing at the Village Gate in Greenwich Village with John Coltrane in 1964, and in 1965 the three shared a monthlong bill there. Rare signed, and an excellent association. Near fine in a very good dust jacket with several edge chips and one edge tear. [#033387] SOLD

[Havana], (INRA/MINFAR), [1961]. The manual of guerrilla warfare, written in the aftermath of the successful Cuban revolution, by Ernesto "Che" Guevara, the second in command to Fidel Castro during the revolution and a key figure afterward both in Cuba and around the world, as a symbol of revolutionary fervor. Inscribed by the author to what appears to be Karel or Karol Zachar; we have not identified the individual, but the name is a Czech name and Guevara had traveled to Czechoslovakia and other Eastern bloc countries at the end of 1960 to establish economic ties between Cuba and the Communist countries of eastern Europe, and one reasonable guess would be that he gifted a copy of his book when it was published to one of the people he met on that trip, or perhaps on his second trip, in 1966. Scattered spotting to rear cover and spine crown; near fine in wrappers -- an exceptionally nice copy of this cheaply produced book, usually found in quite worn condition. Very scarce signed or inscribed. In (stained) custom clamshell case. [#033629] SOLD

London, Jonathan Cape, 2003. A promotional cardboard mobile with five Volkswagens: 2 red, 1 blue, 1 black, 1 yellow; therefore, according to the code of the book, signifying neither a Good Day nor a Black Day. Fine. The only such mobile we have seen. [#031395] $150
On Sale: $98

(Mt. Horeb, WI), Perishable Press, (1988). Hamady's Interminable Gabberjabb series, begun in 1973 and comprising eight books by its end in 2005, is considered to have "changed the face of contemporary book arts in the United States" (Univ. of Arizona Poetry Center). This, the sixth book in the series, was published seven years after the fifth, and the limitation was reduced for this book from 200 to 125 copies. An eclectic and elaborate production: attempting to "read" the book sequentially involves carefully discovering how each page or gathering "works" and discovering the surprises the book has in store. This is copy number 87, date-stamped December 7, 1988. Signed by Hamady, his assistant Kent Kasuboske, and the binder Marta Gomez. Additionally annotated by Hamady on December 8: "Fore edged and embellished yesterday wrappered today by WH (sunny but cold 20 degrees)(F)." Fine. [#033017] SOLD

(n.p.), Sumac Press, [ca. 1971]. Broadside poem, 6" x 9", memorializing Yesenin, and dedicated "to D.G.," Harrison's co-founder of Sumac, Dan Gerber. This is the first poem in Harrison's collection Letters to Yesenin. One of 33 copies only according to Harrison, although Gerber has put the number between 80 and 100 copies; still, one of the rarest Harrison "A" items. Unmarked, but from the library of Peter Matthiessen, a longtime friend of Harrison. And together with Dan Gerber's own Sumac Press broadside, Sources. The Gerber broadside, also 6" x 9", has a little edge-foxing, otherwise both items are fine. [#032283] SOLD

Paris, Vuibert at Nony, (1909). The first edition (1909) of this 500+ page illustrated tome by the French naval officer who developed the Natural Method of training that led to the development of the parcours du combatant (military obstacle course). Both the method and the courses fueled the compulsions of a Vietnamese-French orphan turned Paris fire fighter named Raymond Belle, whose legendary physical prowess inspired his son, David Belle, to turn the methods of "parcours" into the practice of parkour. Now, more than a century after Hebert's insistence that fully functional training involve walking, running, jumping, climbing, lifting, throwing, swimming, balance, and techniques for defense and rescue, the fitness world has complied with Crossfit, Tough Mudder, Spartan Races, Hyrox, etc. As best as we can tell, this was Hebert's first book, and it was followed by a series of volumes on the Natural Method. Here presented in original wrappers, foxed at the edges, pages uncut, and for all practical purposes already separated at the spine into five signatures. [#033038] $750

NY, Knopf, 1968. The second book, a play, by the author of Catch-22. Inscribed by Heller to Dick Seader, the General Manager of the play's Broadway debut, in the month of publication and two months prior to opening night: "To Dick Seader, with thanks and very high hopes -- for all of us. Joe Heller 8/15/68." After an initial production by the Repertory Company of the Yale Drama School, the play moved to the Ambassador Theater on Broadway, to open on October 16: it ran for 85 performances. Mild offsetting on the inscription page; greater offsetting on verso. Near fine in a very good, spine and edge-tanned dust jacket with a bit of dampstaining on the verso, at the lower spine. A nice association, and an early inscription. [#033175] SOLD

NY, Scribner's, 1955. Later, Nobel Prize edition of the last book published in Hemingway’s lifetime, inscribed by the author: “To Keith Wolf/ hoping he’s never/ nervous in the service/ best always/ Ernest Hemingway.” The Old Man and the Sea won the Pulitzer Prize for fiction in 1953 and helped earn Hemingway the 1954 Nobel Prize for Literature. A short novel that has been characterized as a fable, it deals with a Cuban fisherman's struggles to land a giant marlin that he has hooked, and reflects Hemingway's concern for life as a struggle of man against nature, including his own nature. By the time of the publication of The Old Man and the Sea, Hemingway's literary star had seemingly fallen: his previous novel, Across the River and Into the Trees, had been soundly panned by critics, who called it a poor parody of Hemingway's earlier writings. By the 1950s, his physical health was declining as well, and he seldom ventured into the public limelight anymore, as he had been so accustomed to doing in previous decades. As a result, this title -- one of the high spots in the Hemingway canon -- seldom turns up signed or inscribed, in comparison to many of his earlier books. Keith Wolf was the brother of Jacob “Jake” Wolf, a writer who was an expert on the life of Hemingway and reviewed Hemingway’s books and books about him for the St. Louis Post-Dispatch. Jake Wolf visited Hemingway with a friend at Finca Vigia in Cuba in 1957, which is probably where he got this book inscribed for his brother. A very good copy in the Nobel Prize dust jacket (supplied) which is near fine, with light wear at the bottom of the rear panel. A handsome copy of one of Hemingway's most important works. Six years after this edition was published, Hemingway, suffering from failing health, committed suicide. He never finished any of the other writing projects he was working on over the last decade of his life. [#033502] SOLD

NY, McGraw-Hill, (1965). A specially-bound author's copy of his third book. Three quarter leather, five raised bands, gilt stamped, marbled endpapers, inscribed by Hoagland to his mother: "For Mother with love from Ted." Two bookplates and a book review tipped in, presumably by Hoagland's mother. A bit of mottling to the boards; near fine, without dust jacket, presumably as issued. In all likelihood, a unique copy, created for the author by his publisher. From the author's library. [#033462] SOLD

[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] SOLD

(n.p.), G&J Productions, 1995. A handbill for the U.K. tour of the play version of Hornby's well-received first book, a collection of short autobiographical pieces published in 1992 and recounting, and reflecting on, the author's life as a fan of the Arsenal football (soccer) team. Later the basis for a U.K. film in 1997 in which Colin Firth played a character based on the author and a 2005 U.S. film in which the location was moved from London to Boston and the sport shifted from football to baseball. The play version was adapted and directed by Paul Hodson and was performed, as a one-man show, by his brother, Robin Hodson. The handbill is 5-3/4" x 8-1/4" and is signed by Hornby. Tour dates on verso. Fine. Scarce ephemera, and especially uncommon signed. [#029928] SOLD

London, Allen & Unwin, (1942). Sir Huxley's treatise on evolutionary biology, published to reverse the "eclipse of Darwinism" that had taken hold in the early 20th century as multiple theories competed for dominance against natural selection. Published to wartime standards, this is a near fine copy in a near fine, spine-darkened dust jacket. A remarkably well-preserved example of this title. [#033619] SOLD

(n.p.), Garp Enterprises/Radio-Telegraphic Company, 1991. A very early draft of the screenplay that won Irving an Academy Award for best adapted screenplay, based on his sixth novel. Signed by Irving. This is the earliest copy of the script we have seen: the film was released in 1999; this version is dated "June 14, 1991, Revised." Hand-numbered "42." There are substantial textual differences between this early version and the final version. 130 pages, stringbound, with one remaining brad. Foxing to pages; near fine. A glimpse of an award-winning script as a work in progress. [#029480] $3,500

(London), Bloomsbury, (1996). The uncorrected proof copy of the first British edition of this title, which was incorporated into the U.S. edition of Trying to Save Piggy Sneed and had no separate U.S. printing. Inscribed by Irving. Fine in a near fine, proof dust jacket, worn where it overlays the proof, with the price of £13.99 (later lowered to £9.99). An uncommon proof (the British trade edition would have had a proportionally smaller printing than a U.S. one would have had, and the proof equally so), especially with the proof jacket, and even more so signed by Irving. This is the first signed copy of it we have handled. [#029482] $1,000

Zurich, Rascher & Cie., 1919. The first German edition of Joyce's play Exiles and the first of his works to be published in translation in any language. One of 600 copies printed: Joyce was living in Zurich at the time and he paid for the publication of this book out of his own pocket. This copy is inscribed by the author: "To J.R. [sic] Watson, Jun / with grateful regards / James Joyce / 8. ix. 1919." J.S. Watson, Jr. was at the time the co-owner of the modernist literary journal The Dial, which he bought from Martyn Johnson with his friend and fellow Harvard graduate, Scofield Thayer. Watson became president of the magazine and Thayer became its editor. The "grateful regards" refers to a gift of $300 that Watson had sent Joyce earlier in the year at the urging of Thayer, who had himself sent Joyce $700. These sums bailed Joyce out of dire financial straits, allowed him to settle a court case against him, and helped him support the theater group that he had associated with in Zurich, the English Players. In 1920 The Dial published a piece by Joyce, and in 1921 Thayer was one of his most ardent and influential supporters in the censorship case in New York against Ulysses and its publication in the Little Review. A notable association copy of Joyce's first translation. Slocum & Cahoon D44. Pages browned and acidified, and covers strengthened at all the edges and spine with tape, with a hole cut in the spine for the title to show through. The first blank, on which the inscription appears, is also strengthened at the edges with tape. Fragile, and a candidate for de-acidification, but a significant association copy from a critical point in Joyce's life and career. [#029930] $10,000

Middletown, Wesleyan University Press, (1987). The first book, a collection of poetry in the Wesleyan New Poets series, by the author of the acclaimed memoir The Liars' Club and its sequels, as well as The Art of Memoir. This collection precedes her first memoir by eight years. This is the hardcover issue. Inscribed by the author to the novelist and memoirist Jay Neugeboren in 1988: "-- with apologies for insults, memories of a lovely meal, & hopes for more." Fine in a very near fine dust jacket with faint edge creasing to the rear panel. Uncommon in hardcover, especially signed and as an association copy. [#032298] SOLD

London, Cassell and Company, 1897. "Being the adventures and observations of a field naturalist and an animal photographer." Text by Richard Kearton; 180 photographs by Cherry Kearton. Inscribed by Richard Kearton, and further signed by Cherry Kearton, in the year of publication, to J. Farlow Wilson, Esq., who was the manager of the Cassell and Company publishing house. The Kearton brothers collaborated on numerous volumes of natural history, and Cherry Kearton was a pioneer of photographing wildlife in their natural habitats, including being credited with taking the first photograph of a birds' nest with eggs, in 1892. This volume recounts their travels around England, Wales, Scotland and Ireland, and also goes into some detail about their methods: the gilt cover illustration shows Cherry rappelling off a cliff carrying a large camera and tripod on his back, as seagulls fly below him. Top edge gilt; spine- and edge-sunned; foxing to endpages and prelims; a very good copy. By all appearances, the first edition of this title is very scarce: it is often cited as an 1898 publication, even though the date on the title page is 1897 and this copy is inscribed in 1897. A landmark volume in natural history and wildlife photography, and a fine association copy, being inscribed to the publisher. [#033519] SOLD

(Stockholm), Imaginary Worlds, (2001). Keene's virtually unfindable first book, a collection of stories published by a short-lived specialty press in Sweden, whose books were printed in quantities measured in the hundreds. Warmly inscribed by the author in the year of publication. Keene has since gone on to win two Bram Stoker awards, including one for his first novel in 2003, The Rising, an early novel in the zombie craze that has pervaded pop culture in recent years. Bookplate of the recipient, another author, on the front flyleaf. A couple of small spots to the cloth; near fine in a very near fine dust jacket with a couple of tiny nicks along the folds. Laid in is the brochure for Keene's instructional program on Guerilla Marketing. Scarce. [#030739] SOLD

1902. September 22 [1902]. Written to Mr. [William V.] Alexander, editor of Ladies Home Journal, who had requested a series of articles from Keller that were later published as The Story of My Life. Keller humbly thanks Alexander for payment for the last article; in part: "I only wish I could have made the story of my life more worthy of the generous praise it has received...It has meant a great deal in my life, and in Miss Sullivan's too -- the thought of the happiness that she says my compliance with your request has brought her is sweeter even than the thought of the kindness shown me in the letters that come constantly from old friends long silent and new friends whose words go to the heart..." Two 5" x 8" pages, typed with blue ribbon and signed "Helen Keller." A very early letter by Keller, preceding her first book, with exceptionally good content. Fine. [#021174] $3,500

NY, George H. Doran, (1920). A book on immigration, economics, and race relations by a woman who was known for her work on immigration, women's rights, and prison reform. By the time this book was published, Kellor, who had her law degree, had been secretary and treasurer of the New York State Immigration Commission; chief investigator for the Bureau of Industries and Immigration of New York State; managing director of the North American Civic League for Immigrants; and director of the National Americanization Committee. This copy is inscribed by Kellor to Joseph Mayper, "with appreciation and gratitude for many years [?] of cooperation with work for the unforsaken [?] and for the pleasure of a happy association together." Mayper was the editor for Kellor's Immigrants in America Review. Spine-dulled, slight wear to corners, would be near fine but for the clean separation of the text block from the boards, thus only a fair copy, but an excellent association copy and a scarce signature. [#033634] SOLD

Pleasant Hill, Intrepid Trips, (1974). The first issue of Kesey's homegrown magazine, edited by him and with contributions by Kesey himself, Ken Babbs, Wendell Berry, Paul Krassner and others, including Kesey's alter-ego "Grandma Whittier." This is the scarce first printing, with no writing on the spine. Inscribed by Kesey to Robert Stone: "Awright Stone/ you worthless sack of sociallistic [sic] psallipsisms [sic] !!! You were supposed to be in this issue -30 - Ken Kesey." (-30- being used to connote "end of story.") Hand-addressed (then corrected) mailing label for Stone on rear cover; about near fine in wrappers. Stone and Kesey had a longtime friendship, going back to their time at Stanford in the early 1960s, where both were in Wallace Stegner's writing workshop. Stone went to Mexico to visit Kesey and write about his circumstances when Kesey fled the U.S. after a drug bust, and they stayed friends until Kesey died in 2001. [#033739] SOLD

Bronxville, Sarah Lawrence College, 1943. Two poems by Kizer, "So Speak" and ""I Dreamed I Was Saint Augustine," in this publication by the English Department of Sarah Lawrence College, designated as being "For Classroom Use." Kizer would have been a 17 year-old sophomore at the time: three months later she would have a poem ("When You Are Distant") published in The New Yorker. Her first book was not published until 16 years later. Modest spotting and sunning; very good in stapled wrappers. Uncommon. [#033636] SOLD

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

Tuscaloosa, University of Alabama, 1947-1948. Two volumes of the yearbook of the University of Alabama, where Harper Lee studied law between 1945 and 1949. The 1947 Corolla shows Lee as editor of the humor magazine Rammer Jammer; sitting on the Board of Publications; voted one of the "campus personalities"; pictured as a student of law; and as a member of Chi Omega and of Triangle, an honor society of seniors who guide freshmen. In all, at least a half dozen pictures of Lee. Wear to the edges, rubbing to the joints; near fine. The 1948 Corolla pictures Lee only as a campus personality: before completing her degree requirements, Lee left law school for New York City, where she worked as an airline reservations clerk (and wrote To Kill A Mockingbird). From Lee's campus newspaper, as quoted in the book Harper Lee by Kerry Madden: "[Lee] is a traditional and impressive figure as she strides down the corridor of New Hall at all hours attired in men's green striped pajamas. Quite frequently she passes out candy to unsuspecting freshman; when she emerges from their rooms they have subscribed to the Rammer Jammer." Check marks in text; board edges worn; very good. [#023675] $1,000

NY, Atheneum, (1972). An early collection of poems, only issued in softcover. Signed by the author in full on the title page and additionally inscribed by Levine to Peter [Matthiessen] on the half title: "For my friend Peter -- one of the great spirits of this place. With thanks & love, Phil." Foxed and a bit creased; very good in wrappers. Levine's address has been added to his biographical statement, likely in Matthiessen's hand. [#032491] SOLD

Eugene, Lone Goose Press, 1997. A limited edition of an essay from Crossing Open Ground, which was, after this edition, issued in a trade edition by the University of Georgia Press. Here issued with twenty-three 11-3/4" x 11" woodblock images by Robin Eschner, hinged in a continuous presentation almost 22 feet long, encompassing the text. An elaborate production, involving a number of individuals prominent in the book arts, in addition to Lopez and Eschner: Charles Hobson, the designer, whose work is included in the collections of the Whitney Museum and the National Gallery of Art, among others; Sandy Tilcock, the publisher and boxmaker; Susan Acker, the letterpress printer; Nora Pauwells, the relief edition printer; and John DeMerritt, the binder, who is President of the Hand Bookbinders of California. Of a total edition of 66 copies, this is Copy No. 20, one of 50 numbered copies signed by Lopez and including a unique tire-tread print from Lopez's Toyota 4-Runner, the vehicle used in the journey from Oregon to Indiana that is described in the story. Fine, in a clamshell box. [#033029] SOLD

Eugene, Lone Goose Press, (1992). A limited edition of a single piece by Lopez, from Crossing Open Ground, about igniting and retaining wonder in the natural world. Copy 58 of 75 numbered copies signed by the author and the artist, Margaret Prentice, who provides several relief print illustrations to the text. An elegant production: handset and printed on handmade papers made by Prentice, using dyes made from colored plant pulp to evoke the woods to which the essay refers. Handbound into attractive wrappers, also made by Prentice, with a fern image on the cover, the whole laid into a folding clamshell box. Printed and bound by Sandy Tilcock, who also made the box. Fine. [#033028] SOLD

London, Cassell, [1932]. The uncorrected proof copy of Mackenzie's suppressed memoir of his time working for MI6, the British intelligence service, during WWI; the book was withdrawn on the day of publication as a violation of the Official Secrets Act. and Mackenzie was prosecuted and fined. In the book he revealed the existence of the SIS (Secret Intelligence Service) and was critical of particular individuals. He was later placed on MI5's watch list, and his activities were monitored by the British domestic intelligence service. An edited version of Greek Memories was published in 1939. Mackenzie was knighted in 1952. Spine slant; initials to rear cover; staining and bookstore (?) label to front cover; good in wrappers. Few copies of the 1932 edition survived; proof copies are especially uncommon. [#027408] SOLD

Chicago, University of Chicago, 1976. One of the most sought-after titles in recent American fiction, two long interrelated stories of a family for whom "there was no clear line between religion and fly-fishing." Published by the university press as a favor to a retiring professor, the book became a surprise success, first gaining readership through word of mouth recommendations and eventually necessitating many later printings, illustrated and gift editions. Basis for the Robert Redford film featuring Craig Sheffer, Brad Pitt, Tom Skerritt and Emily Lloyd. First issue points: typo page 27 and mismatched ISBN numbers. Slight foxing on top edge, else fine in a price-clipped, else fine dust jacket with very subtle spine fade. [#911063] SOLD

(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] SOLD

NY, Viking, 1955. A novel of partisan politics in Paris in the early 1950s and loosely based on Matthiessen's own brief experience with the CIA, in which he was asked to keep tabs on a young French communist leader during the period when Matthiessen was living in Paris and co-founded the Paris Review. Inscribed by the author to his parents: "For Mom & Dad. With much love. Pete." Two passages marked in the text, with page numbers written on the front pastedown: one of the passages begins, "Nevertheless, he respected his father -- " Heavy foxing to endpages; staining to boards; insect damage to cloth, which is splitting at the rear joint. A fair copy only, lacking the dust jacket, but an excellent family association copy. [#032362] SOLD

NY, Viking, (1978). A second printing of his first National Book Award winner, which recounts a trip to the Himalayas with naturalist George Schaller in the hopes both of encountering a snow leopard in the wild and of coming to terms with his wife's recent death from cancer. From Matthiessen's own library and with more than a dozen passages marked in pen by Matthiessen, all having to do with the porter and camp assistant Tuktken. There are a couple of other passages marked in pencil, with page notations in the prelims. Rear blank excised, else a very good copy, lacking the dust jacket. [#032371] SOLD

Boston, Little Brown, (1969). The first book by the Pulitzer Prize-winning author of Elbow Room, who is on the permanent faculty of the Iowa Writers' Workshop at the University of Iowa. Inscribed by McPherson to the former President of the University of Iowa: "For Jim Freedman, Friend. With love, Jim McPherson." Fine in a near fine, price-clipped dust jacket with light rubbing and one small externally tape-mended edge tear. McPherson is an extremely private author, and books signed or inscribed by him are uncommon. [#022057] SOLD

(San Francisco), (Gigantic Publishing), (1994-1997). Eleven of the first 16 issues of Dave Eggers' first foray into periodicals. Sold as a set, after the fact, in the Brooklyn Store, with an included serious/humorous fact sheet entitled "Rules for Buyers of These Old Magazines" and a set of latex gloves for handling. Among other things, the buyer of a set was instructed to write a check to The Fresh Air Fund, a New York charity that brings low-income urban children to outdoor experiences in the country. This seems to have been the first McSweeney's effort to have its literary publishing venture also serve an activist, socially conscious purpose; later the 826 Valencia and 826NYC literacy efforts extended and amplified this impulse. Issues of Might are quite uncommon now, and runs of the magazine are extremely scarce. The Might magazines, the rules and the gloves are fine, in a large and worn ziplock bag. [#032991] SOLD

(NY), (Viking), (2006). Two volumes: signed copies of both the advance reading copy and the first printing of the first edition. The first edition is signed by Mortenson; the advance reading copy is signed by both Mortenson and David Relin. Textual differences exist between the advance copy and the first edition. An inspirational, then infamous, account of Mortenson's quest to build schools in Pakistan and Afghanistan in response to kindnesses bestowed on him by locals while he was lost in Pakistan after an unsuccessful ascent of K2, a quest that led to his founding the Central Asia Institute and to an ongoing effort that has resulted in the building of hundreds of schools. The hardcover edition sold only 20,000 copies; the paperback sold over four million copies in more than 40 countries and stayed on The New York Times bestseller list for more than four years, until, in 2011, author Jon Krakauer revealed on 60 Minutes that Mortenson and Relin had taken liberties with the narrative and, in Mortenson's case, liberties with his financial relationship to the Central Asia Institute. The first edition is signed by Mortenson, who has added the word "Peace!" The advance reading copy is signed by Mortenson and by Relin, who at one point claimed sole authorship of the book, saying it was published with Mortenson as co-author over his objections. Relin committed suicide the year after the controversy broke. The advance reading copy has a mild corner tap and slight cover splaying and is very near fine. The first edition is fine in a fine dust jacket, with a ticket and a program for a Mortenson reading (of the sequel, Stones Into Schools) laid in. Each book has a custom clamshell case. A bestselling story of a Nobel Peace Prize-nominated attempt to achieve peace through education, flawed only by its being more inspirational than true. Note: proceeds from the sale of this book will be donated to Room To Read, an unassociated organization of similar vision. [#032663] SOLD

Garden City, Doubleday, 1957. The second printing of this short comic novel, signed by Nabokov and dated "21 Jan. 1959 Cornell Univ." With a letter of provenance laid in. Nabokov was notoriously reluctant to sign books, and the letter of provenance tells an interesting story: the purchaser of this book originally bought two copies of Lolita to have Nabokov sign, and Nabokov told him that he had an agreement with his publisher not to sign copies of the book. As a result, he went back to the bookstore and bought two copies of Pnin (one for himself and one for his sister), and Nabokov signed and dated those instead. The commercial success of Lolita -- it had been a bestseller since its publication the previous summer -- allowed Nabokov to leave his job at Cornell. He gave his last two lectures there on January 19, two days before signing this book. Boards somewhat rubbed; near fine in a very good dust jacket with a couple of small stains at the folds, some fading to the spine lettering, and modest edge chipping. The dust jacket is Juliar's variant a, with the code above the price on the front flap. Uncommon signed, and this copy with a small footnote to literary history. [#033207] SOLD

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] SOLD

(Castle Rock), Bella Luna, (1992). Copyedited typeset sheets for an apparently never-produced limited edition of Offutt's first book, a collection of stories published in 1992 as a paperback original in the Vintage Contemporaries series. One full set (140 pages) and five partial sets (approximately 270 pages). With copyeditor's marks throughout. 8-1/2" x 11" sheets, printed on rectos only. A few marks where rubber bands once lay; near fine, in manuscript box. Offutt's book received high praise from critics; on the strength of it and his 1993 memoir, The Same River Twice, he was named one of the "20 best young American writers" by Granta magazine. Presumably unique. [#915763] $750
On Sale: $525

(n.p.), Midnight Paper Sales/Fox Run Press, 2004. An excerpt from Ondaatje's novel Anil's Ghost, printed in an edition of 200 copies as a benefit for Sri Lankan tsunami victims. "Arranged" by Ondaatje, Schanilec and See from Ondaatje's text and an image inspired by a drawing by Anicka Schanilec. Signed by Ondaatje, Schanilec, and See. One sheet folded to make four pages. 7" x 3-1/2". Fine. An elegant and uncommon item. [#033524] SOLD

Garden City, Doubleday Doran, 1928. Inscribed by the author at Christmas in the year of publication: "To Somebody the Kewpies love/ from all the band, including Dr. Goldwater and Rose O'Neill." Creator of the Kewpie comic strip, and the inventor of the Kewpie doll, O'Neill was also the first published female cartoonist in the U.S. and active in the women's suffrage movement. Small (original) price stamp rear flyleaf, slight play in text block, and light crown wear; a very good copy in a good, edge-chipped dust jacket with some tearing at mid-spine. With a letter of provenance from a descendant of Dr. Goldwater. Uncommon signed and in dust jacket. [#033649] $1,500

NY, Harcourt Brace, (1952). An advance reading copy of the first American edition of Orwell's personal account of the Spanish Civil War, in which he was wounded. When the book was first published, in England in 1938, Orwell's careful account of the manner in which the Spanish Communists betrayed the Republic, with whom they were nominally allied, contradicted the leftist orthodoxy of the day and the book was largely ignored. This edition, published posthumously in 1952, includes an introduction by Lionel Trilling that didn't appear in the British edition and which puts Orwell's sympathies, and his political transformation, in context. Unbound signatures, with the publisher's label on the front flyleaf, stating "Advance Copy," and noting, by hand, the release date (May 22) and the price of $3.50. The front and rear panels of the original jacket are present, and we have supplied a second jacket, but it too is losing its spine. Near fine in a fair dust jacket. Very scarce. [#033484] SOLD

(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] SOLD

Garden City, Doubleday, 1959. A wonderful association copy of her first book, a collection of stories, by a writer who helped define the role of women and politics in contemporary literature: engaged without being didactic, Paley focused on both the ordinariness and the wonder of everyday life. Inscribed by Paley to Jean Stafford and her third husband, the journalist A.J. Liebling: "To Jean & Joe -- Grace Paley." Like Paley, Stafford's greatest medium was the short story: her Collected Stories won the Pulitzer Prize in 1970. Paley's Collected Stories, which included stories from this title, was a finalist for both the Pulitzer and the National Book Award, 25 years later. Offsetting to the endpages; near fine in a very good dust jacket with spotting to the rear panel and rubbing to the folds. [#029162] SOLD

[Berkeley], Maidu Press, [c. 1973]. "A Maidu Free Poem" broadside of the title poem of Piercy's 1973 collection. This version has one small change from the book version published in 1973 (there were several more changes in later versions). The edition of this broadside is unstated, but the broadside is marked as "1/ ." The only other Maidu Free Poems we are aware of are a 1971 Gary Snyder broadside, "Swimming Naked in the Yuba River," and "I Saw the Green Yuba Flow" by Franco Beltrametti. The Snyder was done in an edition of 200 copies; OCLC records two copies of the Beltrametti. The Maidu Press was the creation of two of Snyder's neighbors and friends, Steve Sanfield and Dale Pendell, both of them poets living on the San Juan Ridge, as Snyder was. This broadside reproduces calligraphy by Snyder, according to the Snyder bibliography. The presence of a blacked out mistake in the last line of the first stanza and the backward limitation (the copy number specified but not the number of copies, rather than vice versa) combine to suggest this is a trial copy or an unused or proof copy. We have no evidence that the edition was ever done: the Piercy bibliography lists no Maidu Press publication and OCLC shows no copies held in institutional libraries. A scarce, virtually unknown collaboration between Piercy and Snyder, both of them major American poets of the postwar era, and both associated with the counterculture of the 1960s and beyond. 8-1/2" x 11", on heavy orange paper. Shrinkwrapped with a board backing. Fine. [#033353] SOLD

NY, Norton, (1987). Second printing of Plimpton's first novel, which is an expanded version of a story he published in Sports Illustrated magazine in an April Fool's Day issue, purporting to be nonfiction about a young superstar baseball pitcher who could throw a ball nearly twice as fast as any pitcher in the major leagues or in history. Inscribed by the author to Peter [Matthiessen], "with admiration and affection." Matthiessen is mentioned in the acknowledgements as having given Plimpton help with Siddhartha Finch's Buddhist religious background. Slight foxing; near fine in a fine dust jacket. [#032514] SOLD

NY, Random House, (2001). Apples, tulips, marijuana, potatoes. In his third book, the author of The Omnivore's Dilemma and How To Change Your Mind, among others, examines the relationship between humans and four domesticated plants. This copy is inscribed by Pollan in the year of publication: "6-11-01/ For Warren, Fellow bumblebee. Michael Pollan." The thesis of the book is that these domesticated plants may be viewed as using us -- humans -- as an evolutionary strategy in the same way that flowers use bumblebees to spread their DNA, helping to ensure the species' survival; Pollan's recognition of the recipient's and his own identities as "bumblebees" likely refers to this idea. Laid in is a review of the book, directions to the library in St. Paul where Pollan was appearing, and what seem to be two pages of Warren's handwritten notes on the evening. Fine in a fine dust jacket, which features blurbs by Richard Ford, Bill McKibben, Edward Hoagland, and Alice Waters, among others. Uncommon in the first printing, especially signed. [#033486] SOLD

(NY), Atlantic Monthly Press, (1991). The uncorrected proof copy of the first book by the author of The Omnivore's Dilemma, In Defense of Food, The Botany of Desire, and Cooked. Here titled The Idea of a Garden; published as Second Nature: A Gardener's Education. Selected by the American Horticultural Society as one of its 75 Great American Garden Books. This proof is shot from typescript and reproduces holograph page numbers. Mild wrinkling to a couple of pages, apparently in production; fading to spine; near fine in wrappers. The earliest appearance in print of any book-length work by this author whose writings have become instant bestsellers and touchstones for our times. Scarce. [#029955] SOLD

Undated. An Artist's Proof ("AP") of a drawing by Prosek, author of Trout: An Illustrated History and Trout of the World. Signed by Prosek. From the library of Peter Matthiessen, who had provided the foreword to Prosek's book Ocean Fishes. 8" x 11". Fine. [#032516] SOLD

(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

NY, Henry Holt, (1997). The uncorrected proof copy in plain blue wrappers (not to be confused with the two more common variants of the beige advance reading copy, of which there were reportedly 500 copies each). This is the second issue blue proof, with a tipped-in title page that adds the ampersand missing from the "Mason & Dixon" in the first issue. These blue proofs had significant textual variations from both the advance reading copy and the printed book, and as such this is the most significant printed variant of any Pynchon work ever to appear -- the only one to contain a significantly earlier version of the text than that which was finally published in book form. While the textual variations in the beige advance reading copies were minor, and could easily have been the work of a copy editor, those evident in this proof would have to have involved Pynchon's assent and his rewriting. We have been told that virtually the entire edition of these proofs was destroyed. Fine in wrappers. [#033041] SOLD

Boston, Little Brown, (1984). One of two leatherbound copies prepared by the publisher, one of which went to Pynchon; this one belonged to Pynchon's editor, Ray Roberts. Small bookplate of Ray Roberts on the pastedown, and a letterhead note card identifying the issue laid in. Fine. This collection of stories featured a new introduction by Pynchon. [#028516] SOLD