Catalog 157

New York, McGraw-Hill, (1968). His first book of nonfiction, a classic of nature writing in the company of Rachel Carson's Silent Spring or Aldo Leopold's A Sand County Almanac. Inscribed by the author. Slight spine lean; else fine in a very near fine dust jacket with several small edge nicks. An attractive copy of this landmark work, increasingly scarce in fine condition, and especially so signed. [#026474] $3,500

Salt Lake City, Dream Garden Press, 1985. The limited issue of the Tenth Anniversary Edition of his most famous novel, a combination roman a clef and "how-to" manual for direct-action environmentalists. This edition includes a chapter not in the original edition. Illustrated by noted cartoonist R. Crumb, famous for his underground comix of the 1960s. One of 250 numbered copies signed by Abbey. Laid in is a signed limited print by R. Crumb: "You can't never go wrong cutting fence." Fine in a very near fine slipcase with a small corner bump. [#018489] SOLD

(San Francisco), (Straight Arrow), (1972). The uncorrected proof copy of the first book by the iconoclastic Chicano lawyer who was characterized so vividly in Hunter Thompson's Fear and Loathing in Las Vegas. A legendary and elusive figure who later disappeared, Acosta remains a quintessential character of the Sixties -- a gonzo lawyer plying his trade out on the edge of political unrest, social turmoil, and the personal weirdness induced by overindulgence in drugs of all types, psychedelics in particular. Tall wrappers; a few spots on the front cover and some pencil erasures there; about near fine. Straight Arrow proofs are extremely scarce: Straight Arrow Press was the publishing arm of Rolling Stone magazine, which at the time was still a small, cash-strapped counterculture publication. We've only seen a small handful of Straight Arrow proofs over the years, and we have only handled one other copy of this proof, and seen a listing for one more. A significant book of its time, by a larger-than-life character who embodied many of the era's aspirations and excesses. [#029039] SOLD

NY, Simon & Schuster, (1988). The second of his comic fantasy mystery novels featuring Dirk Gently, a "holistic detective" who uses the "interconnectedness of things" to solve the whole crime. By the author of The Hitchhiker's Guide to the Galaxy. Inscribed by the author: "To ____/ Another funny guy!" Two page corners turned; very near fine in a fine dust jacket. [#029040] SOLD

Madrid, Tipografia de Archivos, 1935. An elaborate volume on the prehistoric cave paintings of Altamira, updating a 1906 edition by Breuil and Emile Cartailhac. Large quarto with 52 plates, both black & white photographs and full color plates reproducing Breuil's original drawings of the animals in the Altamira frescoes. A number of the color plates are double pages; all are protected with tissue guards. The caves at Altamira were discovered in the 1870s and were the first caves to be found that contained prehistoric artworks. Their Spanish discoverers were ridiculed for claiming that the paintings belonged to people of the Upper Paleolithic era, and it wasn't until decades later, after numerous other such caves had been found around Europe, that this became a generally recognized truth. Breuil, a French archeologist, visited the site and made drawings of a number of the animals depicted on the cave walls for the 1906 monograph -- notably in particular a species of bison that had been extinct in Spain for thousands of years; three decades later he updated and expanded his work, taking advantage of increased access to the cave and newly available lighting. The present volume has more plates than the earlier one, and all of the earlier images have been updated and improved. The discovery of the caves at Altamira was one of the most significant archeological discoveries of the 19th century, changing forever our understanding of our human forebears. This volume was produced during the Spanish Second Republic, the relatively brief period of liberal democracy preceding the Spanish Civil War and the subsequent forty years of fascist rule. A beautiful book, three quarter bound in leather and attractively and elaborately printed. [#029041] $2,500

(Wainscott), Pushcart Press, (1989). The uncorrected proof copy of this anthology of selections from the previous year's small press publications. Introduced by Tess Gallagher and dedicated to the memory of Raymond Carver, who had died the previous year. With stories by Paul Bowles, Julian Barnes, Charles Baxter, Lydia Davis, Kristina McGrath, Joyce Carol Oates, Sigrid Nunez, Edward Hoagland, and many others. Reproduced holograph corrections to the "People Who Helped" page and also to the Table of Contents, with a few pencil check marks there. Light foxing to top edge; near fine in wrappers. A scarce proof. [#013495] $100

San Francisco, Pneumatic Press, 1994. The third issue of this artist book/magazine, produced by Johnny Brewton. Limited to an edition of 200 copies. Found photo on front cover (so every copy is different). Contributors include Mail Art legend Ray Johnson, Charles Bukowski, Geof Huth, John M.Bennett, Hardbound Ed, Michael Montfort, and John Brewton Sr. One of 200 numbered copies. Hand-assembled and velobound; many of the contributions comprise signed, numbered editions by their respective artists. Fine, with the x-ray viewer (still packaged) laid in. An extravagant production; the entire run consisted of ten issues. [#029042] SOLD

Ventura, X-Ray Book Co., 2001. An assortment of small, individual pieces (broadsides, photos, booklets, etc.), laid into the publisher's box and cardstock sleeve. Work by Charles Bukowski, Richard Brautigan, Hunter Thompson, Michael Montfort, Bern Porter, Johnny and Giselle Brewton, and many others. Letterpress sleeve, and many letterpress broadsides; a number of the pieces are signed and/or numbered by the artists. Published in a total edition of 126 copies, this is one of 100 numbered copies. This was the first issue of the magazine to be housed in a box. Fine. [#029043] $600

Ventura, X-Ray Book Co., 2003. An assortment of small, individual pieces (broadsides, photos, booklets, stamps, record, etc.), laid into the publisher's box folding box. Work by Charles Bukowski, Richard Brautigan, Michael Montfort, Thurston Moore, and many others. A number of signed and/or numbered, letterpress productions, original photographic prints (including a Montfort photo of Hunter Thompson aiming his .45 revolver). Published in a total edition of 126 copies, this is one of 100 numbered copies, and was a contributor's copy. This issue was dedicated to Gypsy Lou Webb, whose LouJon Press in the mid-1960s was a predecessor to this kind of artistic production, publishing such writers as Charles Bukowski and Henry Miller in elaborately designed and produced hand-bound volumes, signed and limited. Fine, with wraparound band. [#029044] $600

Pasadena, X-Ray Book Co., 2004. An assortment of small, individual pieces enclosed by a wraparound band and laid into the publisher's box. Work by Charles Bukowski, Jason Davis, Lyn Lifshin, Thurston Moore, End War, and many others. This was a contributor's copy. Fine. Elaborate and fragile; the tissue wrapper enclosed by the wraparound band makes this production highly vulnerable to careless handling. [#029045] $650

1994. Crowley's handwritten review of Nicholson Baker's The Fermata, which was published with the title "Naughty, Naughty Boy" in the 2/20/94 Washington Post. A five-page, handwritten, much-corrected manuscript on yellow-lined paper. Previously folded once to fit into a copy of the uncorrected proof of Baker's novel, which is also included [NY: Random House (1994)]. Crowley's notes on two pages of the proof; near fine in wrappers. An interesting pairing: one of our greatest writers of fantasy (Aegypt; Little, Big) on one of our more popular literary sexual fantasists. Crowley's papers are housed at the University of Texas's Harry Ransom Humanities Research Center, and manuscripts of his seldom appear on the market. [#024677] $1,250

NY, Farrar Straus Cudahy, (1962). A volume collecting Spillway, a collection of stories; The Antiphon, a play; and Nightwood, a novel, and considered by many her most important work. The author revised The Antiphon for this edition; Nightwood includes the introductions written by T.S. Eliot for the first and second editions. This copy is signed by the author on a tipped-in leaf. Laid in is an autograph note signed by Barnes to Joseph D. Garrett who, like Barnes, resided at 5 Patchin Place in New York City. The note, which is blindstamped with Barnes's address, is dated December 22, 1965 and reads "And a happy New Year to you, Mr. Garrett. Djuna Barnes." The impression is that the rather reclusive author was likely offering a response to her neighbor's holiday overture. The typed envelope, included, is postmarked December 23. Both the letter and envelope are near fine. The top edge of the book is a bit dusty, with a hint of sunning to the spine ends; else the book is fine in a near fine, slightly rubbed dust jacket. Barnes was one of the important expatriate writers of the Twenties and Thirties, whose experimental fiction and poetry helped redefine the literature of the modern era. She was rediscovered by the women's movement of the late 1960s and early 1970s, with all her books coming back into print at that point. [#029046] SOLD

London, Dent, (1985). The first British edition of his first novel. Signed by the author in 1990. Bookstore stamp to lower edge of text block and front flyleaf; thus near fine in a fine dust jacket. [#010424] $50

NY, Viking, 1953. The first issue of the Nobel Prize winner's third novel, and the first of his three National Book Award winners. Signed by Bellow. This copy was used as a presentation copy by the Popular Library prior to their reprinting it in paperback, and bears their label on the front flyleaf. Upper corners tapped, else a fine copy in a very good dust jacket with light wear to the corners and professionally strengthened there and along the flap folds. A nice copy of an important book, preserving a bit of the publication history of the novel -- that is, a presentation edition created by the book's paperback publisher prior to issuing their edition. [#026937] $2,500

Garden City, Doubleday, 1970. A review copy of this collection of 93 stories; according to the publisher the first complete collection of Bierce's short fiction. Clip marks to prelims where review slip (now laid in) was attached. Near fine in a very good dust jacket, slightly spine-faded and with minor edge wear. [#029047] $125

NY, Farrar, Straus & Giroux, (1965). Her third collection of poems, which was a finalist for the National Book Award. One of only 4000 copies printed. Inscribed by Bishop to poet Duane Niatum (as Duane McGinnis): "To Duane [McGinnis whited out]: I hope his enthusiasm/ never dies -- Elizabeth Bishop/ Seattle, Washington, April 1966." Niatum's handmade poetic bookplate on the front flyleaf and his marks in text; a near fine copy with the front and rear dust jacket panels clipped by Niatum and attached to boards. Books signed by Bishop are uncommon, and literary association copies, especially those with contemporary signatures, are extremely scarce. Niatum is a poet and playwright of Native American descent and was a key figure in the renaissance of Native American literature in the 1970s. [#022661] $1,750

Comus, Quill & Brush Press, 2011. The first printing of the latest edition of the standard guide to book values by the authors of Book Collecting. This volume updates their 1991, 1998, and 2002 Collected Books, with values for more than 20,000 books and a section for identifying first editions. The Ahearns have put together the most useful single-volume reference books in the book trade. The listings in this guide include not only estimated prices but details regarding issue points where applicable. This is probably the only book that virtually every serious dealer in the U.S. owns a copy of and is indispensable, both for dealers who must assess a wide range of material and for collectors who focus in one or a few areas. Just the changes in values since the last edition was published in 2002 are an invaluable reference and can easily repay the cost of the book. Also, (taking an understatement from the introduction): "The points necessary to identify first printings and first states or issues are not always available online and, in many cases, there is incorrect or misleading information. So, in addition to its value as a price guide, there is strong justification for the use of this work by those interested in buying or selling scarce and rare first editions who want to be sure their offerings or purchases are bibliographically correct." Signed by the authors. Fine in a fine dust jacket. At the list price: [#029048] $75

Buenos Aires, Sur, (1942). Borges' first major work of fiction, "The Garden of the Forking Paths." This is the first publication of these stories later published in his acclaimed volume Ficciones, in 1944. Inscribed by Borges to his sister, Norah, and her son: "Para Norah y Miguel, con el cari o y la simpatia de/ Jorge Luis Borges." Norah Borges illustrated her brother's first book of poems, Luna de Enfrente, in 1923. Miguel added his ownership signature to this book in 1995; wrappers slightly darkened, particularly along the spine; front joint professionally reinforced; a very good copy of this extremely fragile, and extremely important volume, in the pale blue wrappers typical of Sur publications of the time. Borges's fictions -- of which these are the first manifestation to be published in a book -- were arguably the most influential literary writings of the 20th century, bringing the sensibilities and experimentation of the avant garde to mainstream literature, and expanding the possibilities of fiction for all the succeeding generations of his literary descendants. An attractive copy and scarce thus, and virtually unheard of as an association copy, particularly such a close familial one. In an attractive quarter leather custom clamshell box. [#022301] $12,500

NY, Knopf, 1943. Her first book, a wartime production and a very scarce book in nice shape. This copy belonged to the poet and publisher James Laughlin, who founded New Directions, which published the American edition of Paul Bowles's The Sheltering Sky in 1949. Laughlin's ownership label on the front flyleaf, with the holograph notation "Please return to." Cloth fraying at the spine extremities; near fine in a good dust jacket with only light edge wear but professionally strengthened on the verso along the edges and folds. Over the years, Jane Bowles's output was remarkably small, but her influence on later generations of women writers has been out of all proportion to the quantity of her production. [#016136] $1,500

NY, Random House, (1955). His third novel, about a group of Westerners adrift in the alien culture of Morocco. Bowles himself lived in Tangier for many years, and was acutely sensitive to the extent to which the foreignness of the North African culture could create culture shock for Europeans and Americans. His novels and stories focused on that alienation and its ability to undermine one's world view and Bowles became, by virtue of both his writing and his willingness to host visiting writers and artists at his home in Tangier, a mentor to the Beat generation -- and a guide for many of them to a culture and life that were unknown to them, and also to the drugs that were such an integral part of the Moroccan world. Inscribed by Bowles to Bob Sharrard, editor of City Lights Books, who published Bowles' A Hundred Camels in the Courtyard -- tales inspired by kif smoking in Tangier -- as well as a number of his translations of North African and Central American writers. "For Bob Sharrard./ Next time stay longer./ Paul Bowles/ Tangier/ I/VI/86." Fine in a very good dust jacket with mostly light wear but for a closed, internally tape-repaired snagged tear at the lower front corner. An excellent association copy. [#021443] $1,250

NY, Putnam, (1972). His first book of memoirs. Inscribed by Bowles to Jordan Massee in Atlanta in 1994: "For Jordan Massee/ with thanks for the/ Norman Douglas." Massee was a mutual friend of Bowles and Tennessee Williams, themselves longtime friends and collaborators on a number of Williams' plays, for which Bowles composed the music. White cloth a bit dusty; near fine in a near fine, slightly edgeworn dust jacket. A nice association copy. [#015490] $1,250

Kathmandu, Starstreams, 1976. One of 500 numbered copies of this beautiful production on homemade Nepalese paper, with tipped-in photographic frontispiece. This is an association copy: inscribed by Bowles to his biographer, Virginia Spencer Carr, "with love," in 1994. Fine. [#023154] $750

(Jamaica), (Jamaica High School), (1926-1927). Eight issues of Bowles's high school magazine, The Oracle, of the 14 issues in which he appeared and including 26 of his 43 contributions, as follows (parenthetical references correspond to the Jeffrey Miller bibliography): November 1926 (Miller C8-11); December 1926 (C12-14); January 1927 (C15-16); April 1927 (C19-20); May 1927 (C21); June 1927 (C22-23); October 1927 (C24-28); November 1927 (C29-35) -- in other words, 26 of the first 35 entries in the "C" section of Miller's bibliography. Over the eight issues, Bowles contributes one story, twelve poems, four book reviews, and one translation; he also edits two "Poet's Corners" and edits and/or contributes to five "By the Way" columns. These issues date from Bowles's junior and senior years in high school and predate his first book, Two Poems, published in 1933, by six years or more. No copies in OCLC. The earliest appearances in print by Paul Bowles that we can find listed in any institutional holdings are copies of the two issues of transition in which he had single poems appear in March, 1928 and Summer, 1928. Bowles submitted the poems while he was still in high school. All of the appearances in print in these copies of Oracle precede his appearance in transition. Except for some faint sunning of the edges, the issues are all fine in stapled wrappers. An exceptional set of a very uncommon journal -- the finest such run we've encountered -- and a sizable body of early work by one of the important American writers of the 20th century, who was a friend and mentor to the writers of the Beat generation and a seminal figure in American multicultural writing. We find not only no institutional holdings, but no record of any having appeared at auction. The likelihood of there being another such set, or a better one, in private hands is quite small these days. [#025933] $7,500

(n.p.), Apollo Year Two, (1971). One of 485 numbered copies signed by the author. Additionally inscribed by Bradbury in 1974 to Steve Riley, a highly regarded fantasy artist who illustrated a number of fanzines in the 1970s. A nice historical association. Light bump to spine; near fine in string-tied wrappers. With original envelope (sliced open and edge sunned, but present). [#029049] $175

(Springfield), Gauntlet, 1997. The limited 40th anniversary edition of his dark fiction classic, a collection of stories that helped establish Bradbury as a writer of great power, transcending genre boundaries. This edition is illustrated by Joe Mugnaini. One of 500 numbered copies. Signed by Bradbury and by Dennis Etchison and Robert R. McCammon, two of the leading figures of the next generation of horror writers, who provide the introduction and afterword, respectively. With the bookplate of Stanley Wiater, horror fiction writer, editor, anthologist, and three-time winner of the Bram Stoker Award from the Horror Writers of America. Fine in a fine dust jacket. [#029050] $250

(Springfield), Gauntlet, 2001. A limited edition reissue of Bradbury's first book, a collection of stories, which was first published in 1947. Here offered with a new introduction by Bradbury, plus four "lost" stories from the same period and other additional "archival" pieces reproducing Bradbury's typescripts. The limitation was 700 copies; this is a publisher's copy ("PC") and is signed by Bradbury and by Clive Barker, who provides an afterword. With bookplate of horror writer Stanley Wiater. Fine in a fine dust jacket. [#029051] $650

San Francisco, Carp Press, 1959. His third book, and first collection of poems (following two books that were each a single poem), by a writer who later came to epitomize the sensibility of the new West -- whimsy, generosity, a sensitivity to the natural world, and a predilection for mind-altering substances. A small pamphlet, printing twenty-four poems and with a cover illustration by Kenn Davis. Rear top edge sunned, and water staining to the spine and a portion of the covers (with a bit of red mixed in on the lower rear cover); dampstaining also apparent to the hinge of the rear cover; no inside text affected. About very good in stapled wrappers. A scarce early book, this copy with provenance that takes it back to Brautigan's first wife, who gave it to a friend at the time of publication. [#029052] SOLD

San Francisco, Carp Press, 1960. Brautigan's fourth book, and his second collection of poems. Although there is no indication of the size of the edition either in the book itself, in Lepper, or in the bibliography published in 1990, all of Brautigan's books that precede Confederate General from Big Sur seem to have either been done in very small quantities or to have disappeared over the years as such slight, fragile volumes are wont to do. Cover photograph by Gui de Angulo, daughter of folklorist Jaime de Angulo. Owner name on first blank, being that of a close friend of Brautigan's first wife, and the person with whom she stayed for a time when she separated from Brautigan in 1962. Some handling apparent to covers; near fine in stapled wrappers. [#029053] SOLD

(San Francisco), [O'ar], (1966). The second edition of his second book, one of 700 copies printed. Inscribed by Brautigan in 1966: "This copy is for Don [Allen]." Don Allen, of the Four Seasons Foundation, published Brautigan's Trout Fishing in America in 1967, and other titles thereafter. Allen picked up Trout Fishing after Grove Press dumped Brautigan when A Confederate General from Big Sur failed to meet expectations. With virtually no advertising or promotion, Trout Fishing went through multiple printings, sold 25,000 copies, and made Brautigan one of the key writers of his generation. Fine in saddle-stitched wrappers. [#017995] SOLD

NY, Simon & Schuster, (1976). The uncorrected proof copy of this collection of poems. Inscribed by Brautigan to Don Carpenter: "This copy is for Don Carpenter with Love from Richard Brautigan/ San Francisco/ March 10, 1976." Carpenter was an important figure in the 1960s San Francisco Bay Area literary scene. His first novel, Hard Rain Falling, took its title from a Bob Dylan song. In 1964 he organized the Free Way Reading at San Francisco's Longshoremen's Hall, at which Gary Snyder, Lew Welch and Philip Levine all read their poetry. Don Allen's Four Seasons Foundation published a set of commemorative broadsides for the event. Surface abrasions to spine and top margin of front cover, no other flaws; very good in wrappers. A nice association copy between Brautigan and one of his best friends, who was also a fine writer. [#029054] SOLD