Jeffers, Robinson. GRANITE & CYPRESSJeffers, Robinson. GRANITE & CYPRESS. Santa Cruz: Lime Kiln Press, 1975. First edition. Oblong folio. One of 100 numbered copies printed under the direction of William Everson on handmade Hayle paper. Bound at the Schuberth Bookbindery. With a title page woodcut by William Prochnow. Issued in a slipcase made of Monterey Cypress and with a window of granite from Jeffers' own stoneyard. The book was designed by Everson to render Jeffers' long poetical line uninterrupted by linebreaks. The slipcase, harmonious with the natural flow of Jeffers' poetry, can best be described as a free-standing sculpture that represents the zenith of William Everson's accomplishments as book designer and printer. We have purchased, sold, and repurchased this title some five or six times over three decades. The publication price was $250. Hardcover. Fine and today rare.




Jones, James. Two Dynamic Single-Spaced Typewritten Letters, circa, 1954. Composed in response to a critic's analytical essay in a little mag on Jones' watershed novel, "From Here To Eternity." Painstakingly rejecting the academic's theories, Jones elucidates his novelistic intentions with passion: "The main theme I basically want to show in Eternity ... was that the army had an infallible way of destroying its own best advocates and adherents ... the tragic essence of Prewitt was from the beginning the sense of foredoomed knowledge that he must die. That inevitability of avoidable disaster is the essence of all tragedy from the Greeks on down ... Now I can look back and see that the Army did not really kill Prewitt. Prewitt killed Prewitt. Else why did not the Army also kill Warden?" Jones goes on to reject the critic's view that Karen Holmes was a nymphomaniac: "I do believe that when people are lonely -- as everyone is -- they will try and alleviate it in the best way they can. If that's nymphomania, we're all nymphos," and concludes on a pessimistic note: "It makes you wonder whether writing novels is worth the trouble." A not uncommon booksellers' conceit is to represent an author's correspondence as an expression of insight into his art. Such hyperbole notwithstanding, we believe that these thoughtful letters accomplish just that. Seven pages totalling 4000 words with a few holographic insertions by Jones, along with a copy of the correspondent's critical essay.  Fine in the original mailing envelopes.  









James Joyce

Joyce, James. Finnegan’s Wake. London/’New York: Faber & Faber/Viking, 1939.  First edition. 4to. One of 425 numbered copies signed by the author.  An especially fine copy in a fine, unmottled example of the publisher’s yellow slipcase.









Joyce, James. THE HOLY OFFICE. Pola (Yugoslavia): Privately printed for the author, [1904 or 1905]. First edition. 4to. The first extant printing of the author's second separate publication. Slocum & Cahoon A2. Preceded only by "Et Tu, Healy," which was privately printed by Joyce's father when his precocious son was but nine years old. Though it is known to have existed, no one has ever seen a copy of this juvenile effort.

The circumstances under which the argumentative and irreverent "The Holy Office" was printed were spelled out by Joyce's brother, Stanislaus. After its composition, Joyce commissioned its printing in Dublin, but because the then-indigent Joyce could not come up with the wherewithal to pay the printer, he never received the copies, which presumably, the printer deep-sixed. No copy is known to have survived.

Sometime later, Joyce, now solvent and living in Pola, had the poem printed again, the copies of which he and his brother distributed through the mails to members of his literary circle. Joyce's bibliographers estimate that less than 100 copies were produced. Poetry broadside. Fine. Housed in a custom-made cloth chemise. Among the rarest of the author's primary publications.   (24047)                                                                                  



Joyce, James. JAMES JOYCE READING "ANNA LIVIA PLURABELLE." Cambridge: Orthological Institute, [N.D. but circa 1929]. 78 rpm phonograph record. The first pressing (Slocum & Cahoon, page 173) of Joyce reading the "Anna Livia Plurabelle" episode from Finnegans Wake. The recording session took place in August of 1929 at a time when Joyce's eyesight had deteriorated considerably. As Richard Ellmann writes in his biography of Joyce (page 630): "He found time also to record the last pages of 'Anna Livia' for Ogden at the Orthological Institute; the pages had been prepared for him in half-inch letters, but the light in the studio was so weak that Joyce still could not read them. He had therefore to be prompted in a whisper throughout, his achievement being, as Ogden said, all the more remarkable." The record is in fine condition in the original sleeve, a singular feat of preservation considering its composition.




Joyce, James. ULYSSES. Paris: Shakespeare and Company, 1922. First Edition. Printed Wrappers. Large 8vo. One of 750 numbered copies on hand-made paper. Laid into this copy is the original prospectus for the book. An unrestored copy, easily the finest of this fragile volume that we have ever encountered, merely showing the most niggling of wear at the heel of the spine. The blue wrappers that Joyce insisted on perfectly matching the hue of the Greek flag are otherwise in fine condition. A collector’s copy of the most influential novel of the 20th Century. Housed in a custom-made clamshell box.