Catalog 130, M
156. MANN, Rich. North Beach 90291. (Venice): (Rich Mann) (1983). A self-published book of twelve years of photographs; this copy sent to Pauline Kael at The New Yorker in October 1983 with a typed letter signed from Mann noting it is for her "special consideration." Kael has here added the words, "for what?" Near fine in stapled wrappers and signed by Mann.
157. -. Another copy. Inscribed by Mann to Pauline Kael in November 1983, "for special consideration." Edge-foxed; near fine in stapled wrappers.
158. MANRIQUE, Jaime. Scarecrow. (Hudson): Groundwater Press (1990). A bilingual collection of poetry by this Colombian poet, novelist, essayist and translator who has been called "the most accomplished gay Latino writer of his generation." Inscribed by the author to Pauline Kael in the year of publication. Kael provided a blurb for the publication of Manrique's first novel, Colombian Gold, in 1983 and the two became good friends thereafter. Near fine in stapled wrappers.
159. MANRIQUE, Jaime. My Night with Federico García Lorca. Hudson: Groundwater Press (1995). A bilingual collection of poetry. Inscribed by the author to Pauline Kael in 1996 "with all possible love and admiration." Fine in wrappers.
160. MANRIQUE, Jaime. Tarzan, My Body, Christopher Columbus. NY: Painted Leaf Press (2001). Another bilingual collection of poetry. Inscribed by the author in the year of publication. Front cover splayed; else fine in wrappers.
161. (MANRIQUE, Jaime). Sor Juana's Love Poems. NY: Painted Leaf Press (1997). Translations by Manrique and Joan Larkin of the 17th century Mexican nun's passionate love poetry. Inscribed by Manrique in the year of publication. Fine in wrappers.
162. MARCUS, Greil. Mystery Train. Images of Rock 'n' Roll in America. NY: Dutton (1975). The uncorrected proof copy, shot from typescript and with numerous editorial and authorial changes reproduced, of the first book by the former Rolling Stone music critic, who became -- in part as a result of this book -- the foremost rock'n'roll critic of his time, and one of the most respected pop culture critics ever. Pauline Kael's pencilled notes on cover and half-title, a few in text. This was Kael's copy, and her notes are incisive and opinionated, as usual: "He's pushing too hard for big meanings... but he's good when he gets into Presley & some of others..." Marcus and Kael became good friends after this book was published, and he dedicated his volume on the Bob Dylan "basement tapes," Invisible Republic, to her. Title written on lightly sunned and creased spine; near fine in wrappers.
163. MARSHALL, Paule. Daughters. NY: Atheneum, 1991. Second printing. Signed by the author in the year of publication. Fine in a fine dust jacket.
164. MASON, Bobbie Ann. In Country. NY: Harper & Row (1985). Her highly praised first novel, about a young girl's search for her father, who died in Vietnam before she was born. Inscribed by the author "For _____ ______/ Thank you,/ Bobbie Ann Mason." The recipient was one of the people involved in promoting the book. Dampstaining to upper spine cloth; near fine in a near fine dust jacket dampened on verso.
165. MATHESON, Richard. I Am Legend. NY: Walker (1970). The first hardcover edition of this classic vampire/science fiction novel, originally published in paperback in 1954 and the basis for the 1964 Vincent Price movie The Last Man on Earth. It was also reportedly an influence and inspiration for George Romero's horror classic Night of the Living Dead. Widely considered one of the best horror novels of all time. Signed by the author on the title page and additionally inscribed by Matheson on the flyleaf, "from one legend to another." Fine in a fine dust jacket. A very nice copy of an uncommon book, with a great inscription.
166. (MATTHIESSEN, Peter). The Circle of Life. San Francisco: Harper San Francisco (1991). A collection of 155 photographs documenting rites of passage, edited by David Cohen and introduced by Gabriel García Márquez. With an afterword by Peter Matthiessen. This copy is signed by Matthiessen. Large quarto; fine in a very near fine dust jacket with a small nick on the rear panel. A beautiful book, with text by two of the preeminent writers of their generation. Uncommon signed.
167. McCALL, Dan. The Silence of Bartleby. Ithaca: Cornell University Press (1989). An essay on Melville's "Bartleby, The Scrivener," by the author of a number of well-received novels, including Jack the Bear, Triphammer, and others. Inscribed by the author to Pauline Kael "with admiration and warmest best wishes." A fine copy of the issue in wrappers.
168. McCARTHY, Cormac. All the Pretty Horses. NY: Knopf, 1992 [1991]. A 1991 advance copy, in the form of 8 1/2" x 11" bound galleys, of the first volume of the Border Trilogy, a landmark novel that won both the National Book Award and the National Book Critics Circle Award and propelled its author to "instant" literary celebrity -- after nearly three decades of writing well-received literary novels in relative obscurity. The cover sheet is a printed letter from Sonny Mehta at Knopf dated November 20, 1991 and addressed "Dear Bookseller," calling All the Pretty Horses "Cormac's break-through" and "an extraordinary event in American fiction." Covers of cardstock and acetate; McCarthy's name on small label on front; slight tear at front spine fold; else fine.
169. McCARTHY, Cormac. The Crossing. NY: Knopf, 1994. The sequel to All the Pretty Horses, and the second novel in The Border Trilogy. Inscribed by the author: "For ____/ With all best wishes/ Cormac McCarthy." Fine in a fine dust jacket. Although McCarthy signed a number of special copies that were distributed by the publisher and never formally offered for sale, signed copies of regular trade editions of the books in the Border Trilogy are scarce.
170. -. Same title. One of an intended 1000 copies signed by the author on a tipped-in colophon, "for friends of the author and publisher." Reports vary on the number of copies actually signed thus. Fine in a very near fine dust jacket with the hint of a short crease on the front panel.
171. McCARTHY, Cormac. Cities of the Plain. NY: Knopf, 1998. The trade publisher's limited edition. One of 1000 (unnumbered) copies signed by the author on a tipped-in leaf. Relying on rumor, we are told that, like The Crossing, fewer than the stated limitation were actually signed. Fine in a fine dust jacket.
172. McCLURE, Michael. Solstice Blossom. (n.p.): Arif Press, 1973. Of a total edition of 130 copies, this is an out-of-series copy labeled as an "Artist's Copy" and is signed by McClure and inscribed by Wesley Tanner, who has provided an original water color as frontispiece. Quarto. One small edge tear; else fine in saddle-stitched wrappers. An attractive and uncommon edition, with a photographic cover by Constance Baxter.
173. McCLURE, Michael. Komos. (n.p.): (n.p.) [1973]. A printed poem, in card form. Written on the inside front cover is an autograph letter signed from McClure ["M"] to Patti Smith. McClure says Smith's letter arrived on his birthday and that he sent her a draft of a play in June and wonders why he hasn't heard back. He also says he's been in East Africa and India but will be here (San Francisco) for the next seven months. Fine. In hand-addressed envelope sent to Smith in care of Anne Waldman.
174. McCOURT, Frank. Angela's Ashes. (NY): Scribner (1996). The advance reading copy of the author's first book, a memoir that won the Pulitzer Prize, the National Book Critics Circle Award and the Los Angeles Times Book Award, was translated into more than two dozen languages, and was made into a well-received film. A surprise bestseller, it had a relatively small first printing and was reprinted dozens of times, spending more than two years on The New York Times bestseller list and ending up with over two and a half million copies in print in the U.S. alone. The first edition is quite scarce; the advance reading copy considerably more so. This copy is signed by the author. Fine in wrappers.
175. McKENNA, Richard. The Sand Pebbles. NY: Harper & Row (1962)[1963]. The author's first and only novel, winner of the 1963 Harper Novel Prize, as judged by Philip Roth, Louis Auchincloss and Elizabeth Janeway; later made into one of the most acclaimed Hollywood movies of the time by Robert Wise. McKenna's book was semi-autobiographical, about the experiences of a group of U.S. sailors on a Navy gunboat, caught up in the turmoil of the 1926 Bolshevik revolution in China. Wise's film version, done in 1966, used the film's Southeast Asian setting to reflect on issues confronting American society at the height of the Vietnam War. This copy is inscribed by the author in February, 1963, the month after publication; McKenna died in 1964, at the age of 51 and, as a result, copies of the book signed by him are quite scarce. A couple small dings to the boards and some fading to the spine cloth; about near fine in a near fine dust jacket worn at the spine crown and with a few internally tape-mended edge tears.
176. McMURTRY, Larry. Leaving Cheyenne. NY: Harper & Row (1963). His second novel, one of the "50 best books on Texas," according to A.C. Greene. McMurtry's first two books are quite scarce and of the two this is likely the scarcer. Inscribed by the author. A decade after this book came out, and in the wake of the successful movie adaptation of McMurtry's third novel, The Last Picture Show, this was made into the film "Lovin' Molly." Very mild foxing, else fine in a price-clipped dust jacket with faint sunning to the spine.
177. McMURTRY, Larry. It's Always We Rambled. An Essay on Rodeo. NY: Frank Hallman, 1974. A limited edition of this essay, one of 300 numbered copies, signed by the author. This copy is additionally inscribed by McMurtry "with my good wishes" on the first blank. Fine without dust jacket, as issued.
178. McPHEE, John. A Sense of Where You Are. NY: FSG (1966). Second printing of the first book by this Pulitzer Prize-winning author, a profile of former New Jersey Senator Bill Bradley done at the time when Bradley was a Princeton basketball player and Rhodes scholar. A portion of this book first appeared as a "Profile" in The New Yorker, where McPhee's prose in the 1960s and 1970s helped elevate nonfiction writing to the realm of literary art. Inscribed by the author to his first writing teacher: "for ___ ___/ my first book/ for my first (and most/ fundamental) teacher of writing/ with all gratitude -- / John McPhee." Trace sunning to cloth edges, else fine in a near fine, but spine-faded, dust jacket with one edge tear. A wonderful association copy.
179. McPHEE, John. Oranges. NY: FSG (1967). McPhee's third book, an infinitely fascinating and entertaining study of oranges in history, biology and culture. McPhee has been credited with being one of the foremost "literary journalists" practicing today -- indeed, with helping to create the genre -- and his subjects are often rooted firmly in the natural world. With a reporting style in which the narrator is seldom visible, and almost never a "participant" in the story, McPhee differs markedly from many of the literary naturalists writing today -- opting to let his choice of topics, and the individuals whom he chooses to interview for their perspectives, define the political, social and moral implications of the subject. In plain but nonetheless elegant prose, McPhee consistently reveals wonders of the world that would otherwise remain completely unknown to the general reader. Signed by the author. Slight edge-sunning to boards; else fine in a very near fine, price-clipped dust jacket with trace shelf wear at the heel. McPhee typically does not do book signings or author tours for a new book, as is the norm these days, and thus signed copies of his books, especially the early ones, are quite uncommon.
180. McPHEE, John. Giving Good Weight. NY: FSG (1979). A collection of essays and articles from The New Yorker, one of which -- a profile of an anonymous, but purportedly excellent, restaurateur -- created controversy when the subject of the article speculated that a prominent New York restaurant used frozen fish for one of its plates. Heated denials and threats of libel suits followed, and McPhee issued a retraction in a later issue -- the first time such a thing had happened in the New Yorker's history. In the book, the offending passage is footnoted, along with a disclaimer. This copy is inscribed by the author on November 5, 1980: "For ____ ____/ with appreciation of a/ lovely gesture/ on a memorable day/ John McPhee." Fine in a near fine dust jacket.
181. McPHERSON, James Alan. Hue and Cry. Boston: Little Brown (1969). His first book, a collection of stories that defied the mold of late 1960s black writing by refusing to yield to the easy temptation to substitute political diatribe for literary accomplishment and postured anger for real, human feelings. A lengthy blurb on the dust jacket from Ralph Ellison -- author of Invisible Man, perhaps the most acclaimed African-American novel of the 20th century -- lionizes McPherson for precisely this accomplishment, on its own terms, unaided by the winds of political correctness. Faint foredge foxing; else fine in very good, rubbed dust jacket with a small abrasion on the rear panel. Label announcing "Winner of the Atlantic Grant" on the front panel.
182. McPHERSON, Sandra. Elegies for a Hot Season. Bloomington: Indiana University Press (1970). The poet's first book. Inscribed by the author to another poet in the year of publication "with love and best wishes, Sandy." Recipient's handmade bookplate on front flyleaf. Near fine, with various portions of the dust jacket clipped and pasted on the boards and endpages.
183. McPHERSON, Sandra. Radiation. NY: Ecco Press (1973). The second book by this award-winning poet, this being the hardcover issue. Inscribed by the author to another poet in 1983 "in old friendship." Recipient's handmade bookplate on front flyleaf. Near fine, with various portions of the dust jacket clipped and pasted on the boards and endpages.
184. MERRILL, James. The Country of a Thousand Years of Peace. NY: Atheneum, 1983. Third printing. Signed by the author. With the handmade bookplate of another poet on the flyleaf. Fine in wrappers.
185. MEWSHAW, Michael. Man in Motion. NY: Random House (1970). The dedication copy of his first novel, inscribed in the month of publication to Dr. Herbert Schaumann, "who gave of his time,/ energy, and friendship when no/ one else knew or cared./ With gratitude and affection,/ Michael Mewshaw." Dr. Schaumann is one of three dedicatees of this book, the others being the author's mother and the novelist George Garrett, who was the author's writing teacher at the University of Virginia. Mewshaw is an acclaimed novelist, as well as the author of half a dozen books of nonfiction, chronicling the literary life of his time as well as a number of other subjects. He was a friend of Paul Bowles, Robert Penn Warren, Graham Greene and Gore Vidal, among others. Fading to cloth edges; small stains to foredges of two pages; near fine in a near fine dust jacket with a couple tiny corner chips and a small ink number on the rear panel.
186. MICHENER, James A. Caravans. NY: Random House (1963). A novel of Afghanistan in the aftermath of World War II. One of an unspecified number of copies signed by the author on a tipped in sheet. Very near fine in a near fine dust jacket. With a card laid in stating this copy was signed for members of Kroch's & Brentano's First Edition Circle. An attractive copy.
187. MILLER, Henry. Maurizius Forever. Waco: Motive, 1946. The second edition, printed the same month as the Grabhorn Press limited edition, and in an edition equally small: both were issued with printings of 500 copies. Inscribed by Miller to his second wife, June Mansfield, on the half-title page: "June -/ Here's one/ you may/ not know./ HM." June was Henry's wife and his muse: it was she who inspired him to give up his previous life, move to Paris, and pursue his art and writing. New prices stamped on flap folds. The self-wrappers are split in two along the spine, thus only a good copy. Laid in is a typewritten paragraph that begins to mimic text from page 21 and cuts off when a sentence is inadvertently repeated (typist unknown). An association copy of the first order.
188. MILLER, Henry. The Smile at the Foot of the Ladder. (NY): New Directions (1958). First thus, reprinting a work that originally appeared in 1948, and in a binding not described by Shifreen and Jackson -- unprinted cream-colored paper boards. Inscribed by Miller to June in 1960. A spectacular association copy. Spine and edge-sunned; near fine, without dust jacket. An anomalous edition -- perhaps an author's copy.
189. MILLER, Henry. Autograph Note Signed. Undated. A 5" x 3" card: "June -/ Tell me what/ you have read/ and I'll know/ better what to/ send!/ Henry." A short but nice sentiment, not only linking Miller with June, his muse, but also with the literary dimension of their lives together. Near fine.
190. (MILLER, Henry). Art & Outrage. London: Putnam, 1959. Correspondence about Miller between Lawrence Durrell and Alfred Perlès, with interjections by Miller. This copy is inscribed by Miller to June in 1960. At this point in Miller's life, he was sending June copies of his new publications, and keeping in touch with her in that way. Miller met both Durrell and Perlès in Paris in the Thirties; June had actually introduced him to Perlès, whom she had met on an earlier trip to Paris and who, she said, had fallen madly in love with her (although he had gone off to North Africa with Jean Kronski). Fine in a dust jacket chipped at the spine crown, affecting the title; otherwise very good.
191. (MILLER, Henry). Henry Miller. (Hamburg): Rowohlt (1961). Text in German. Inscribed by Miller to June in the year of publication: "Dear June -/ We made it/ at last! (From/ 1924-1961)/ Now I can take/ a walk on the/ wild side!/ Henry." Miller's inscription would suggest that this was the first full-length biography of him, and it includes photographs of June as well as a photograph of one of the mezzotints (Circe, S&J A4) that Miller wrote in their early years together, but which June put her name on, in hopes of having greater success selling copies to her admirers than he had had selling earlier efforts under his own name. Front cover and first two pages (including the inscription page) are completely detached. A fair copy only, and although apparently a first edition, the bibliographer states that the spine is white, lettered in black. This copy, however, has a pink spine lettered in white.
192. (MILLER, Henry). Henry Miller Exhibition. Tokyo: Art Life Association (1968). The catalog of Miller's second Japanese exhibition of his watercolors, which was arranged by his fifth wife, Hoki. The inside covers reproduce a letter and a statement by Miller; the rest of the text is in Japanese. Approximately 8 1/4" x 10", with a cover art by T. Yokoo, the most prominent Japanese pop artist of the era. Miller was a celebrity in Japan, and his marriage to Hoki made them the constant subject of gossip columns and enormous public attention. Near fine in stapled wrappers. Inscribed by Miller to June in 1968, on the rear cover.
193. MILOSZ, Czeslaw. Unattainable Earth. NY: Ecco Press (1986). A collection of poetry and other pieces, of his own and of others, that attempt to "approach the inexpressible sense of being." Translated by Milosz and Robert Hass, who was at the time Poet Laureate of the U.S., and signed by Milosz. With the handmade bookplate of another poet on the front flyleaf, and his notes throughout text. This is the hardcover issue, and is fine in a near fine dust jacket with two parallel tears on the front panel.
194. MONETTE, Paul. Taking Care of Mrs. Carroll. Boston: Little Brown (1978). The first book by this author who became an icon within the gay literature movement before dying of AIDS in 1995. Inscribed by the author to Pauline Kael in the year of publication "with admiration and esteem, as they used to say at Yale." Spine slanted; foxing to page edges; near fine in a near fine dust jacket. A landmark in gay literature, and an excellent association copy.
195. MONETTE, Paul. The Gold Diggers. (NY): Avon (1979). His second book, a paperback original and, like his first, a landmark in gay literature. Inscribed by the author in the year of publication to Pauline Kael "by way of welcome to the ends of the earth." Near fine in wrappers.
196. (MOODY, Rick). Joyful Noise. Boston: Little Brown (1997). Moody and Darcey Steinke edit and contribute to this collection of essays on The New Testament. Other contributors include Madison Smartt Bell, Jeffrey Eugenides, Lydia Davis, Barry Hannah, Ann Patchett and Joanna Scott, among others. Signed by Moody and Steinke. One other signature is indecipherable. Fine in a fine dust jacket.
197. MORRIS, Wright. Fire Sermon. NY: Harper & Row (1971). Inscribed by the author in the year of publication to noted author Carlos Baker, Hemingway's biographer: "For Dorothy & Carlos Baker/ who have witnessed/ the Fire/ and now heard/ the Sermon/ Wright Morris/ Princeton 10-13-71." Carlos Baker's ownership signature appears on the front free endpaper. Fine in a near fine jacket a bit worn at spine crown. Morris was reluctant to sign books, and signed or inscribed copies of his novels are very scarce.
198. MORRIS, Wright. Here is Einbaum. Los Angeles: Black Sparrow, 1973. The hardcover trade edition of this collection of stories; one of 500 copies. This copy is inscribed by the author. Fine in a near fine, spine-tanned dust jacket with a small label taped across the spine base.
199. MORRISON, Toni. Tar Baby. NY: Knopf, 1981. The first trade edition of the fourth novel by the Nobel and Pulitzer Prize-winning author. Inscribed by the author to the owner of one of the great independent bookstores in the U.S., "To ____ ____/ warm best wishes." Fine in a near fine dust jacket.
200. MOSLEY, Walter. White Butterfly. NY: Norton (1992). A review copy of the third Easy Rawlins mystery. Fine in a fine dust jacket and inscribed by the author.
201. MOSLEY, Walter. Black Betty. NY: Norton (1994). The fourth Easy Rawlins novel. Signed by the author. Fine in a very near fine dust jacket with a shallow crease at the lower edge.
202. MURDOCH, Iris. The Philosopher's Pupil. London: Chatto & Windus/Hogarth Press, 1983. Inscribed by the author to Lord Anthony Quinton: "Marcelle &/ Tony, with/ love from/ Iris." Bookplate with the Quinton family crest on front flyleaf. Quinton was a philosophy teacher in Oxford, where Murdoch studied philosophy, and later president of Trinity College. In 1991, he became president of the Royal Institution of Philosophy. As such, an inscription from Murdoch in The Philosopher's Pupil is particularly appropriate. A bit of foxing to top edge, one page signature acidifying; else fine in a very near fine dust jacket with a little loss of crispness at the crown. A very nice association.