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Displayed below are some selected recent viaLibri matches for books published in 1936

        THE TWO JUNGLE BOOKS.

      Reprint. Large 8vo (8 x 6.2 inches). Colour frontis and dozens of mono illustrations, some full page, throughout. A bright and clean copy in mid twentieth century fine leather binding of half dark blue morocco. Spine with five raised bands, each with three gilt dots. Compartments ruled, lettered and decoration in gilt. Blue cloth on boards. Marbled endpapers. Top edge gilt. Some minor rubbing to the extremities but overall a near fine copy in an attractive leather binding. The binding is unsigned but it certainly the work of a master bookbinder.

      [Bookseller: Paul Foster Books]
 1.   Check availability:     PBFA     Link/Print  


        Jamaica Inn - a superb fine copy

      Gollancz, 1936. Hardcover. Fine. A first edition, first printing published by Gollancz in 1936. A fine book without inscriptions. Lacking the dust wrapper. No rubbing or fraying. A little scattered spotting to the page edge. Scarce.

      [Bookseller: John Atkinson Books]
 2.   Check availability:     Biblio     Link/Print  


        The Moccasin Men

      Hodder and Stoughton London (1936) - First Edition. "The first John Ross thriller. A criminal who loved notoriety wanted a trade mark to mark his crimes. The authorities at Scotland Yark, who had a particular dislike to notoriety loving criminals, instructed inspector Peter Locke to discover the identity of the Moccasin Men." Very scarce title. Very Good but for fading and wear at spine and book edges, in a Very Good plus dustjacket, two short closed tears at lower spine end. [Attributes: First Edition; Hard Cover]

      [Bookseller: Babylon Revisited Rare Books]
 3.   Check availability:     AbeBooks     Link/Print  


        Die Festungswerke von Assur. Textband.

      VIII, 180 S. mit 302 Abb. im Text u. auf 102 Tafeln. 4. Ln. der Zeit. Etwas berieben u. bestoßen. Einband etwas fleckig. Innen papierbedingt teils etwas gebräunt. Selten. Beilage: Faltplan des Palastes in Til Barsip (Tell Ahmar) (französisch, vor 1936?) Aus der Bibliothek des bedeutenden Orientalisten, Kunsthistorikers, Archäologen u. Direktors der Islamischen Abteilung des Kaiser-Friedrich-Museums in Berlin Friedrich Sarre (1865-1945). Schönes Exlibris für Sarre von Joseph Sattler, im Druck signiert IS.

      [Bookseller: Antiquariat Kaner & Kaner GbR]
 4.   Check availability:     booklooker.de     Link/Print  


        Gargantua et Pantagruel.

      - P. Levasseur et Cie 1936. 5 volumes in-8° brochés, non coupés, couvertures rempliées, sous étuis decorés de l'éditeur (manque un étui). 76 compositions H.T. en couleurs gravées sur cuive par Louis ICART. Tirage limité à 976 exemplaires. Un des 900 sur vélin d' Arches enrichi d'une suite de 16 gravures en couleurs "libres" [Attributes: Soft Cover]

      [Bookseller: Librairie In-Quarto]
 5.   Check availability:     AbeBooks     Link/Print  


        Time to Kill

      New York: Alfred A. Knopf. 1936. First. First edition. Faint offsetting to the endpapers and foxing to the ends of the pages, else near fine in very good dustwrapper with some moderate soiling, some foxing to the spine and light wear to the corners of the panels. Poor Irish immigrant is driven by circumstance to murder. By the author of Shake Hands with the Devil. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 6.   Check availability:     IOBABooks     Link/Print  


        Collected Poems of Robert Frost

      New York: Henry Holt and Company, 1936 Sixth printing. Inscribed by Frost on the front free endpaper: "Robert Frost / Bread Loaf / 1938". Publisher's brown cloth, lettered in gilt. Near fine or better, with just some faint rubbing to the extremities, very minor offsetting to the endpapers. Overall, a very bright and pleasing copy, signed by Frost. Crane A14.1 Robert Frost inscribed this copy of Collected Poems at the Bread Loaf School of English, the graduate school of English at Middlebury College in Vermont. Frost first came to the school in 1921 a year after its founding and inspired the development of the Bread Loaf Writers' Conference in 1926. Frost returned to the campus annually for 42 years, including 29 sessions of the Writer's Conference. First published in 1930, Collected Poems of Robert Frost is the first collected edition of Frost's poetry, which earned him his second Pulitzer Prize for Poetry in 1931. It contains the poems from his most popular collections: A Boy's Will, Mountain Interval, New Hampshire, North of Boston, and West-Running Brook. Specifically, it includes "The Road Not Taken," "Birches," "Stopping by the Woods on a Snowy Evening," "Acquainted with the Night," "Fire and Ice," "Nothing Gold Can Stay," and "Mending Wall," among others.. Signed by Author. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Hamburg - Amerika Linie. Motorschiff "St. Louis" 2. Seereise der NS- Gemeinschaft Kraft durch Freude (KdF) nach Madeira vom 2. April bis 17. April 1936 Umschlag mit 15 Blatt Klapp- Postkarten, auf Rückseite je Tag Speisenfolge und Tagesprogramm

      Hamburg - Amerika Linie. Motorschiff "St. Louis" 2. Seereise der NS- Gemeinschaft Kraft durch Freude (KdF) nach Madeira vom 2. April bis 17. April 1936 Umschlag mit 15 Blatt Klapp- Postkarten oben Bild unten für die Anschrift, auf Rückseite je Tag Speisenfolge und Tagesprogramm . Auf erster Karte Willkommen an Bord mit Liste der Besatzung. Umschlag in der Mitte unten etwas aufgegangen sonst altersbedingt gut siehe Bilder

      [Bookseller: An]
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        Early pioneer families of Victoria and Riverina. A genealogical and biographical record.

      Melbourne : McCarron, Bird & Co., 1936. Quarto, full red morocco over bevelled boards, expertly rebacked, armorial design on front board, spine lettered in gilt, all edges gilt, marbled endpapers, 584 pp, extensively illustrated. A solid copy of a handsome book, some wear associated with its weight, but quite presentable. Henderson's hefty work on early pastoral families of Victoria and the Riverina has long been scarce and highly sought after for its unique content and portraits of leading families, many of whom still reside in their original homesteads. It also includes a section on the public schools of Wesley College, Geelong College, Melbourne Grammar, Geelong Grammar, Scotch College and Xavier College. Index of Families: Armytage Family of Bagdad, Van Diemen's Land, and Ingleby, Vic. Austin Family Baird of Kangatong and Warrong Baird of Mount Bute Bakewell Family Balfour of Melbourne, Vic. and Round Hill, New South Wales Bayliss of Merton Bedwell of Bellevue Beggs of Eurambeen Best of Concongella, Great Western Beswicke of Mordialloc Black of Glenormiston and Noorat Black of Prospect Hill Black of Tarwin Meadows Boadle of Prospect Hill Bree, Stapylton of Bewsall, Hamilton Buchanan of Ardblair Calder of Polkemmet Cameron of Morgiana Campbell of Gannawarra Campbell of Glencoe Carre Riddell (see Riddell) Carty of Brisbane Hill Champion de Crespigny (see de Crespigny) Clowes of Woodside Cole of West Cloven Hills Cooke, Winter, of Murndal Corney Family Craig of Eddington Crespigny (see de Crespigny) Crooke of The Holey Plain Crossley Family of Kenilworth and Ararat, Vic. and Riverina Cumming Family of Stony Point, Terrinallum and Mount Fyans Curdie of Tandarook Dawson of Kangatong de Crespigny, Champion de Little of Mepunga, Caramut Dennis of Eeyeuk Dennis of Tarndwarncoort Dennys of Geelong Donald of Woodford Dowling of Jellalabad Eagle of Barham, Riverina Fisken of Lal Lal Foord of Wahgunyah Forbes of Burrumbeep Galletly of Geelong Gaunt of Melbourne Godfrey of Boort Gray of Nareeb Nareeb Grice of Mount Alexander Grove of Ulinda Haley of Caledonia Hamilton Family of Bringalbert Hearn of Mount Martha Hedditch of Cape Bridgewater Heriot of Carabobala, Riverina Hopkins of Wormbete Howitt of Barragunda Hutton of Cheviot Hills Jackson of Sandford Jamieson of Castlemaddie, Boldac Plains and Stony Point Kennedy of Bridgewater Kiddle of Ironbark Forest and Pollocks Plains Kiddle of Tittibong Kininmonth of Mount Hesse Laidlaw of Lake Roy, S.A., and Ararat, Vic. Laidlaw of Mundarra and Newlands Laidlaw of Springbank, Heidelberg Laidlaw of Wonwondah and Glencairm Lascelles of Corrong and Geelong Lecky of Gin Gin Bean Lewis of Stoneleigh Lindsay of Quamby and Union Little (see de Little) Lyall of Harewood Lyall of Mount Elephant Mackinnon of Kaladbro Mackinnon of Marida Yallock Mackinnon of North Goonambil, Riverina MacLeod of Benyeo MacLeod of Borhoneyghurk Macpherson of Ashens and Bungeeltap McArthur of Meningoort McCormick of Bournefield Park McCulloch of Woodlands McDonald of Careys Ranges McKellar of Knebsworth and Bochara McMillan of Caldermeade Maidment of Barton Manifold Family of Purrumbete Mercer of Springwood Millear of Edgarley Montgomery of The Heart Morris of Yanga and Paika Officer Family Parker of Quiamong, Riverina Patterson of St Germains Patterson of Warrock Philip Family of Miga Lake Ramsay of Mooleric and Turkeith Richardson of Pirron Yalloak and Gorrinn Ricketson of Barratta Riddell, Carre, or Cairnhill Robertson of Upper Keilor and Campaspe River Robertson of Warrock Ross of Gledfield Ross and The Gums Sage of Eurutta Scott Family of Mount Boninyong and Warracknabeal Scott of Delvine Simson of Roseneath Skene of Skene, Hamilton Smith Family of Tallageira, Vic., and Hynam, S.A. Stapylton-Bree (see Bree) Stevenson of Mitchells Creek Stewart of Lyne Strachan Family of Geelong Taylor of Overnewton Todd of Konetta Twomey of Banemore, Kolor and Langulac Urquhart of Kinkell and Yangery Park Waddell of I.Y.U., Westernport Ware Family Weir of Riverina Were of Brighton Wettenhall of Carrs Plains White of Cahirblonig White of Cape Bridgewater Whitehead of Goodwood Williamson of De Cameron Wills of Lexington, La Rose and Mokepilly Winter Cooke (see Cooke) Young Family of Horsham, Hamilton and Nhill

      [Bookseller: Douglas Stewart Fine Books]
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        Hitler: A Biography

      Constable & Co Ltd, 1936. viii, 416 pages. Heiden "has drawn on a large quantity of information obtained over a period of 15 years from the men closest to Hitler, besides the confidential records of the authorities in Munich and Berlin and a mass of pamphlets, books and obscure newspapers stored in public libraries and archives. It can safely be said that this is the most authoritative account of Hitler's life that has reached the public." - from original dust jacket. Contents clean and unmarked with mild age-toning. Average wear to original brown cloth, lettered orange on spine. Binding intact. Includes replica dust jacket which was copied from of a heavily-worn original. (Kehr and Langmaid 671)

      [Bookseller: Online Bookshop Jim and Mina Stachow]
 10.   Check availability:     maremagnum.com     Link/Print  


        [LAST CONSTRUCTIVIST DESIGNS] Sbornik kompozitsionnykh rabot studentov. #2 [i.e. Collection of Architectural Designs by Students. #2]

      Leningrad: Vserossiiskaia akademiia hudozhestv, 1936. 154 pp.: ill. In original publisher's wrappers. Rubbed, small tears of the spine, water stains on the margin throughout the copy. Otherwise good. Very rare. One of 1000 copies. Book design by Mikhail Minkus (1905-1963). This collection includes four student projects by Minkus of the 1928-1930 as well as works by well-known Soviet architects A. Arkin, R. Israelyan, Z. Brod, I. Rozhin, A. Velikanov, P. Abrosimov, A. Khriakov, Ia. Rubanchik, L. Poliakov. Most of the rest designed Soviet city housing in the 1930s. This is the second collection of the best constructivist works by students of the Faculty of Architecture at the Academy of Arts of the 1928-1930. This time became the highest point of constructivist period at the Academy when students created the purest constructivist projects. Overall 70 works include commune houses, factories and other designs of urban and industrial use. Students' works were never published except for the first collection of 1929 (see our Winter Catalogue 2017) and this collection of 1936. In contrast to the first collection in this edition there are works on auxiliary disciplines too (drawing - from life and architectural drawing). These designs give a vivid image of an architecture process that was taking place during 1920s in Russia. The highest point of constructivist period at the Academy was during 1928-1930 when the purest constructivist projects were created by the brightest young architects like Rubanchik, Rozhin, Minkus. But published in 1936 when Stalinist architecture was dominant these works looked out of date (yet futuristic), and compilers had to explain themselves in the introduction: "Refusal to display these materials, which draw the recent past of the architectural school, would not allow us to look once again at the path traveled by the Soviet architecture so that at the present stage of the new searches, the direction presented here will be subjected to a new criticism" (about constructivism). Amazing collection of constructivist architecture designs which were never brought to life. No copies in USA according to the Worldcat.

      [Bookseller: Bookvica]
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        DETECTIVE FICTION WEEKLY

      New York: The Red Star News Company, May, 1936. Some age tanning to page edges, slight edge wear, a nearly fine to fine copy. (16076). Octavo, single issue, pictorial wrappers. Pulp magazine. Features "Noon Street Nemesis" by Raymond Chandler.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
 12.   Check availability:     Biblio     Link/Print  


        Building Plans and Elevation for C A Wellman on San Bruno Ave , San Francisco

      San Francisco: James H. Hjul, Structural Engineer, March - April 1936. Original pencil drawings on tracing paper. Sheet size 20" x 35". 5 sheets. Job #00380. James Hansen Hjul (1882 - 1957), a structural engineer, constructed many buildings in San Francisco. He was the founder of the J.H. Construction Company and was listed as a contractor, civil engineer, structural engineer and construction engineer in San Francisco City Directories from 1907 to 1958. Most of his work occurred in the South of Market area on warehouses and industrial buildings.

      [Bookseller: Alan Wofsy Fine Arts]
 13.   Check availability:     Biblio     Link/Print  


        Six Against the Yard - First UK Edition in first issue dust wrapper

      Selwyn and Blount, 1936. Hardcover. Very Good. A first edition, first printing published by Selwyn and Blount in 1936. A very good+ book without inscriptions, with a little off-setting to the endpapers. In a very good unclipped wrapper showing the correct price of 7/6 on the spine. Some chipping to the head of the spine, a little to the tail and some small chips. A little darkening to the spine. Some light internal tape repairs. A very rare book using work by the six Golden Age detective authors including Allingham, Berkeley and Sayers.

      [Bookseller: John Atkinson Books]
 14.   Check availability:     Biblio     Link/Print  


        PHILOSOPHY - Philosophy - Journal of The Royal Institute of Philosophy Journal - Run of 67 years (lacks 6 issues only), 1936 - 2007 - A Quarterly

      Run as follows: Volume 11, 1936 through Volume 43, 1968 - [volume 44, lacks no. 169 only] - Volume 45, 1970 through Volume 46, 1971 - [volume 47, lacks no. 180 only] - Volume 48, 1973 through Volume 72, 1997 - [volume 73, lacks nos. 285 & 296 only; volume 74, lacks nos. 287 & 288 only] - Volume 74, no. 289, 1999 through Volume 82, no. 319, 2007.. Good/No Dust Jacket. Ex-Library.

      [Bookseller: PsychoBabel & Skoob Books]
 15.   Check availability:     Biblio     Link/Print  


        History of the Second Division (Regular) AEF." WITH "History of the Second Division (Regular) AEF, Notes."

      1936 - "History of the Second Division (Regular) AEF." Text. -AND- "History of the Second Division (Regular) AEF, Notes.", and reads "Copyright 1936, The Second Division Historical Committee, Major General Preston Brown, Chairman". The work stands in two tall (13.5x8") volumes, a chunky 282+156pp; each page contains about 550 words, giving the work a length of about 250,000 words. Good copies. __+__ This is evidently an earlier version of a work that would be popularly published in 1937 as the The Second Division, American Expeditionary Force in France, 1917-1919, by J.W. Wright (text) and Oliver L. Spaulding (Notes), as the work above and this share the same copyright number. The authors are not identified in this work, and for its year of publication there are no copies located in the OCLC/Worldcat. __+__ These seem to have come from the Copyright Office to the Library of Congress. Both volumes were issued with stiffer, larger paper wrappers, but these are now detached and chipped. The text however is in excellent condition.__+__ ""The 2nd Infantry Division was first constituted on 21 September 1917 in the Regular Army. It was organized on 26 October 1917 at Bourmont, Haute Marne, France. At the time of its activation, the Indianhead Division was composed of the 3rd Infantry Brigade, which included the 9th Infantry Regiment and the 23rd Infantry Regiment; the 4th Marine Brigade, which consisted of the 5th Marine Regiment, the 6th Marine Regiment and the 6th Machine Gun Battalion; a battalion of field artillery; and various supporting units. Twice during World War I the division was commanded by US Marine Corps generals, Brigadier General Charles A. Doyen and Major General John A. Lejeune, the only time in U. S. Military history when Marine Corps officers commanded an Army division."--Wikipedia [Attributes: Soft Cover]

      [Bookseller: JF Ptak Science Books]
 16.   Check availability:     AbeBooks     Link/Print  


        The Works of Santayana; Triton Edition

      Scribners, New York 1936 - Fifteen volume set. Limited to 940 copiesof which this is set number #119. SIGNED by the author in Volume one. All volumes in slipcases. All volumes have tissue wrappers. Volume one tissue is worn and the other tissue wrappers have some light chipping. TEG. (top edges gilt). There is some ight "tanning" at inner joints of endpapers. Slipcases are in very good or better condition. A beautiful set. Volume 1: The Sense of Beauty, Poems, Lucifer, Overheard in Seville, Volume 2: Interpretations of Poetry and Religion, Hamlet Shelley Dickens, Tragic Philosophy; Volume 3: The Life of Reason, Introduction, Reason in Common Sense, Reason in Society; Volume 4:The Life of Reason, Reason in Religion, Reason in Art; Volume 5: The Life of Reason, Reason in Science; Volume Six: Three Philosophical Poets, Egotism in German Philosophy, The Two Idealisms, Plotinus and the Nature of Evil, Volume 7: Winds of Doctrine, Some Turns of Thought in Modern Philosophy, Bishop Berkeley, Penitent Art. Volume 8: Character and Opinion in the United States, The Genteel Tradition at Bay, Dewey's Naturalistic Metaphysics, Philosophical Heresy. Volume 9:Soliloquies in England and Later Soliloquies. Volume 10: Dialogues in Limbo, Platonism and the Spiritual Life, A Long Way Round to Nirvana, The Prestige of the Infinite, Ultimate Religion. Volume 11: The Last Puritan (Volume 1.) Volume 12: The Last Puritan (Volume 2). Volume 13: : Scepticism and Animal Faith, Some Meanings of the Word "Is", Literal and Symbolic Knowledge, The Unknowable, Volume 14: Realms of Being, The Realm of Essence, The Realm of Matter. Volume 15: Realms of Being, The Realm of Truth, The Realm of Spirit. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Midway Book Store (ABAA)]
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        Temples and Topees

      Privately Printed (at The Derrydale Press), New York 1936 - First Edition, No. 97 of 200 copies. Illustrated with photographs. [16], 268 pp. 1 vols. 8vo. Privately printed for the author, and not for sale. The author was a financier and philanthropist; his father co-founded the Wrigley and Harkness Company and was a major investor in the Standard Oil Company. William Hale Harkness graduated from Yale in 1922 and received a Harvard law degree in 1925. A member of numerous clubs and organizations, he was at one time vice president of the American Geographical Society and the Boys Club of New York. He also authored Ho Hum the Fisherman, published by The Derrydale Press in 1939. Siegel 105; Frazier H-2-A Original brown leatherette, ine, slight spine bumping, very light edge wear. Original glassine wrapper has edge chips and tears with loss at back, else fine Illustrated with photographs. [16], 268 pp. 1 vols. 8vo [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
 18.   Check availability:     AbeBooks     Link/Print  


        Chikhi i chukhi [Die Rundköpfe und die Spitzköpfe, oder Reich und reich gesellt sich gern]. Authorized translation by Valentin Stenich and Semen I. Kirsanov

      Khudozhestvennaia literatura, Moscow 1936 - Octavo (22 × 15 cm). Original pictorial embossed cloth; 197, [3] pp. Twelve full-page illustrations and thirteen vignettes by Evgenii Kogan, who has signed and inscribed this copy, most likely to the writer Lev Grigorevich Gel'man (1864-1951). Very good. Authorized Russian translation from the German manuscript of Bertold Brecht's play, known in English as "Round Heads and Pointed Heads," written shortly before Hitler was elected Reichskanzler. It has been described as "Brecht's first anti-Fascist play, one of the few which Brecht directed during his years of exile [?] Round Heads and Pointed Heads would become a lightning rod in the literary politics of exile in Moscow" (Stephen Parker, Brecht: A Literary Life, 300-301). While initially conceived as an adaptation of Shakespeare's "Measure by Measure," the rapid growth of National-Socialism prompted Brecht to depart from his original inspiration. The play became a clear parody of the Nazi's demagogery and racial politics, set in the fictive country "Peru" whose inhabitants are divided into "round heads" ("Tschuchen") and the "pointy heads" ("Tschichen"), leading to radicalization and violence. The play's genealogy and reception are complex: scheduling conflicts prevented it from being premiered in Berlin in January 1932. After going into exile in 1933, Brecht rewrote the piece for a performance in Copenhagen, which was cancelled due to censorship concerns; a planned performance directed by Piscator in Moscow in 1935-1936 did not materialize, nor was Brecht able to secure contracts in France. In November 1936, the play premiered in a Danish-language performance; its first German production would come only in 1948. This Russian translation is the first full appearance of the play in print, in any version (an English translation followed in 1937, and the first German edition of the finalized text appeared in 1938).In a curious division of labor, blank verse and prose were translated by Valentin Stenich; couplets and songs by Semen Kirsanov. Both were noted avant-garde poets in their own right. Stenich later fell victim to Stalin's Purges: he was arrested for his well-known anti-Soviet views and shot in 1938. With an effusive inscription by the Soviet artist Evgenii Kogan (1906-1983), a student of Vkhutemas and later Vladimir Favorsky. As a result, the book may subsequently have been removed from circulation. One of 3000 copies. KVK, OCLC show no copies outside of Germany (where it is held by Staatsbibliothek zu Berlin, the Brecht-Archiv at Akademie der Künste, and Deutsche Nationalbibliothek). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Penka Rare Books, ILAB]
 19.   Check availability:     ZVAB     Link/Print  


        Document dactylographié daté et signé signalant une promotion et une nouvelle affectation d'Adolf Eichmann 13 septembre 1936 - - - Dated and signed typed document announcing a promotion and a new assignment of Adolf Eichmann 13 September 1936 - - - typisierte Dokument datiert und unterzeichnet 13. September eine Promotion und eine neue Zuordnung von Adolf Eichmann angibt 1936

      1936 - Document dactylographié daté et signé, deux pages. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: PRISCA]
 20.   Check availability:     AbeBooks     Link/Print  


        HITLER, A BIOGRAPHY

      London: Constable & Co.. Hardcover. B003KDJOJ2 viii, 416 pages. Heiden "has drawn on a large quantity of information obtained over a period of 15 years from the men closest to Hitler, besides the confidential records of the authorities in Munich and Berlin and a mass of pamphlets, books and obscure newspapers stored in public libraries and archives. It can safely be said that this is the most authoritative account of Hitler's life that has reached the public." - from original dust jacket. Contents clean and unmarked with mild age-toning. Average wear to original brown cloth, lettered orange on spine. Binding intact. Includes replica dust jacket which was copied from of a heavily-worn original. (Kehr and Langmaid 671) . Good. 1936. First English Edition.

      [Bookseller: RareNonFiction.com]
 21.   Check availability:     Biblio     Link/Print  


        Young Americans

      Junior Literary Guild/Ginn & Co. 1936 - the dust jacket is not included; there is wear and rubbing on the corners and edges; an ex-Library book in good condition, has usual stamps and stickers on the inside and outside of the book; [Attributes: Hard Cover]

      [Bookseller: Kota Books]
 22.   Check availability:     AbeBooks     Link/Print  


        Apicius. Cookery and Dining in Imperial Rome. A Bibliography, Critical Review and Translation of the Ancient Book Known as Apicius De Re Coquinaria

      Walter Hill, Chicago 1936 - First edition of the First Translation into English, Number 105 of 500 copies. Printed at the Torch Press in Cedar Rapids, Iowa on custom laid deckle edge paper. 49 facsimiles and drawings by the author. 301 pp. 1 vols. 4to. Vicaire p. 277; Bitting, p. 13: "fully annotated . the name was synonymous with gourmandise and, among the ancients, was given to choice dishes. The name of the author was (probably) Coelius, who gave the name Apicius to his book." Cloth and boards. Inscribed by previous owner on ff, bookplate. Inside, Fine in slightly chipped dust jacket 49 facsimiles and drawings by the author. 301 pp. 1 vols. 4to First edition of the First Translation into English, Number 105 of 500 copies. Printed at the Torch Press in Cedar Rapids, Iowa on custom laid deckle edge paper. [Attributes: First Edition; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
 23.   Check availability:     AbeBooks     Link/Print  


        The American Fur Trade of the far West, Volumes I & II

      RUFUS ROCKWELL WILSON, NE W YORK 1936 - general shelf wear on both volumes I & II, spines are tanned, covers rubbed, each text is in good condition, unmarked, clean and clear, good binding DATE PUBLISHED: 1936 EDITION: 1014 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
 24.   Check availability:     AbeBooks     Link/Print  


        "NUMBER 458 OF AN EDITION LIMITED TO 1000 SETS OF 40 DRAWINGS DONE BY ROCKWELL KENT TO ILLUSTRATED THE WORKS OF WILLIAM SHAKESPEARE OF WHICH ONE PRINT IS SIGNED BY THE ARTIST" WITH 3 EXTRA COLOR PLATES.

      Garden City Pub. Co. , Inc. Near Fine with no dust jacket. [1936]. Hardcover. B&W Illustrations; 40 matted b/w plates, one signed by Kent plus 3 extra partial color prints. 43 matted plates in all as opposed to the 40 called for. One with faint water stain at bottom of print, tiny pinprick above signature- see graphic. 3 mats with quite minor smudges to border and one extra color plate with an internal 1" tear clear of the design. - otherwise all contents are very fine- no foxing or toning. Images approximately 9 1/2x7" on 11 1/2x8 1/2" sheets, overall dimensions including matting 18x15". Original two-part publisher's box in dark blue paper covering worn with corner splits. Lacking text booklet. ; 25 .

      [Bookseller: poor mans books]
 25.   Check availability:     Biblio     Link/Print  


        Gone With the Wind

      New York: The Macmillan Company, 1936. First Edition. Hardcover. Good. First edition, first printing, with "Published May, 1936" as the only date listed on the copyright page. Good+. Shallow chipping to cloth at spine ends, spine darkened, short split at bottom of front joint, corners rubbed and lightly frayed. Picture of the author tipped into front free end paper with offsetting to paste down. Pages lightly rippled throughout, with heavier rippling to early and last pages.

      [Bookseller: Burnside Rare Books]
 26.   Check availability:     IOBABooks     Link/Print  


        An Ordinary Life

      London: George Allen and Unwin, Ltd.,, 1936. Translated by M. and R. Weatherall. Octavo. Original blue cloth, titles to upper board and spine in red, top edge stained blue. With the pictorial dust jacket. Some minor spotting to prelims, spine and topstain typically though only lightly faded otherwise excellent in rather spotted and tanned dust jacket with a number of short tears and a single minor chip at one corner. First English Edition, First Impression. Signed and dated by the author on the half title page and with the hand coloured bookplate of Vaclav Palivec, a relative of the author who had in 1935 acted as a kind of patron, giving use of a house as a wedding present.

      [Bookseller: Peter Harrington]
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        ARCHIVIO DI ANTROPOLOGIA CRIMINALE PSICHIATRIA E MEDICINA LEGALE volume LVI serie IV

      FRATELLI BOCCA, TORINO 1936 - ITALIANO Con fascicolo supplementare pubblicato in onore del prof. Gian Giacomo Perrando, vari timbri biblioteca, numerosi interventi di altrettanti medici da Leone Lattes a Gina Lombroso e molti altri, numerose illustrazioni in nero fuori testo e nei testi, pagine brunite ai bordi, con sottile fioritura ed alcune gore ai bordi, legatura rigida con piatti bordeaux e con lievissimi segni di usura ai bordi, dorso nero con titoli d'oro ed adesivo al piede

      [Bookseller: Biblioteca di Babele]
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        FOUR DAYS WAR ..

      London: Robert Hale & Company, [1936].. Octavo, pp. [1-6] 7-288 [note: first leaf is a blank], original black cloth, spine panel stamped in gold, top edge stained yellow. First edition. Sequel to PRELUDE IN PRAGUE: A STORY OF THE WAR OF 1938 (1935). "PRELUDE IN PRAGUE ends with the delivery of a German ultimatum to Britain, and its sequel ... takes up the story with its rejection. The book goes on to describe the devastation of Britain by bombers which carry not only explosives but chemical and biological weapons. The war becomes a world war -- and eventually takes on the semblance of a Holy War, with the Christian nations (led by America) arrayed against the forces of a new paganism, symbolized by Germany's new military dictator, Prince von Teufel. Fowler Wright had intended (in 1933) to call his future war story THE SPLENDID CURSE, and there are fragments of dialogue in FOUR DAYS WAR which concentrate on the degeneracy of contemporary society and the possibility of its corruption being cleansed by the war. The horror of the vision of destruction, though, overwhelms this cynical thread of argument, and it has quite disappeared by the time the story extends into the third volume of the trilogy, MEGIDDO'S RIDGE (1937)." - Stableford, Scientific Romance in Britain 1890-1950, pp. 195-96. See Anatomy of Wonder (1987) 2-143; (1995) 2-153; and (2004) II-1292.Clarke, Tale of the Future (1978), p. 71. Clarke, Voices Prophesying War: Future Wars 1763-3749 (1992), p. 241. Locke, A Spectrum of Fantasy, p. 235. Bleiler (1978), p. 213. Reginald 15659. A bright, nearly fine copy in very good pictorial dust jacket (designed by Ward Stone) with wear at lower spine end and corner tips, shallow chip from upper spine end, some wrinkling at lower front corner tip, and dust soiling to spine and rear panels. Nevertheless, a nice example of this rare jacket. Formerly science fiction author / editor / publisher Donald A. Wollheim's copy with his name stamped in ink on rear free endpaper. (#149808)

      [Bookseller: L. W. Currey, Inc. ]
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        Jamaica Inn - In the original dust wrapper

      Gollancz, 1936. Hardcover. Very Good. A first edition, first printing published by Gollancz in 1936. A very good+ copy with some light spotting to the page edges, but very clean internally. SIGNED without dedication by the Author to the front endpaper. Previous owner (M M Chatterton) name and date to the front free endpaper also. Some light browning to the spine and some rubbing to the corners. In the scarce and fragile dust wrapper with the original price of 7/6 net on the spine. One neat professional repair to the head of the spine. A thin sliver of loss to the top of the rear panel. A few nicks here and there and the spine is a little browned. Du Maurier's masterpiece about the hostel which lies between Bodmin and Lauceston. The inn still welcomes 'weary travellers' and also includes a museum in honour of Du Maurier. Exceptionally rare signed and in wrapper and housed in a custom made clamshell box.

      [Bookseller: John Atkinson Books]
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        In Dubious Battle

      Covici Friede Inc., NY 1936 - Black cloth spine, beige cloth boards, titled in gilt, red topstain. Limited edition #72/99 signed by Steinbeck to the colophon page. Fine condition, in acetate jacket in original slipcase, which is lightly bumped at corners, all housed in a fine custom clamshell box. ; 8vo 8" - 9" tall; Signed by Author [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        Sveriges krig 1611-1632. Band I-VI + bilagsband I-II.

      Bok. Illustrerad. Stockholm, Generalstaben, 1936-38. Stor 8:o. X,+ (1),+ (blank),+ 631 s.+ karta,+ 6 utvikbara kartor; X,+ 617,+ (3) s.+ 9 utvikbara kartor; X,+ (1),+ (blank),+ 621,+ (3) s.+ 4 utvikbara kartor; X,+ (1),+ (blank),+ 585,+ (3) s.+ 6 utvikbara kartor; XI,+ (2),+ 585 s.+ 2 utvikbara kartor; XVIII,+ (1),+ (blank),+ 549,+ (3) s.+ 3 utvikbara kartor; X,+ 372,+ (1) s.+ 2 utvikbara kartor; XVI,+ 543,+ (1) s.+ 6 utvikbara tabeller. Dek olinneband. Åtta volymer. I: Danska och ryska krigen. II: Polska kriget. III: Tyska kriget intill mitten av januari 1631. IV: Tyska kriget från mitten av januari 1631 till och med Breitenfeld. V: Breitenfeld till Lech. VI: Från Lech till Lützen. Bilagsband I: Sveriges sjökrig 1611-1632 (utarbetad av Marinstabens Sjöhistoriska Avdelning). Bilagsband II: Beväpning och beklädning (av Th. Jakobsson).

      [Bookseller: Andreas Törnqvist]
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        The Hoover Administration. A Documented Narrative

      New York: Charles Scribner's Sons, 1936. First edition. Frontispiece. 553 pp. 1 vols. 8vo. Blue cloth. Fine in very good dj, newspaper photo tipped in at back. First edition. Frontispiece. 553 pp. 1 vols. 8vo. Inscribed on flyleaf "To Gordon Foster/ This is not my book/ but I am glad for you/ to have it./ Herbert Hoover."

      [Bookseller: James Cummins Bookseller]
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        Lavori di allacciamento della linea di circonvallazione di Bologna con le linee per Milano, Verona, Venezia e col Parco Arcoveggio. Visita ai lavori del Ministro dei Lavori Pubblici, (Giuseppe) Cobolli Gigli

      Bologna, Impresa Mauro Toschi fu Ulisse, 1936, due album fotografici originali dell'Impresa, di cm. 34 x 24 cad. con 37 (dodici + ventuno) foto di cm. 22 x 17 cadauna.

      [Bookseller: Libreria Piani già' Naturalistica snc]
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        Hungaria

      London: Ivor, Nicholson and Watson, 1936. Very good in slt. marked dj. 8to, 302 pp, ads (iv). Bright green cloth cover. Gilt title on spine. Original pictorial dj with title in black below; title in black on spine. Chip on dj at top of spine intrudes on the tops of two letters in the title, but it is still legible. Chip on front of dj at top edge. A small Budapest bookseller's label on the inside front cover. This volume is signed by two of the short story authors, Frigyes Karinthy, and Jozsef Tersanszky, and a third author with an unidentifiable signature, and dated 29/9/37. Karinthy was a Hungarian author, playwright, journalist and poet who is known as the originator of the idea of "six degrees of separation", which he first elaborated in the 1929 story "Chains". This concept posits that every person on Earth is connected through a chain of friends or acquaintances to every other person on Earth by no more than six intermediaries, or degrees. Karinthy is also known for "Voyage to Faremido", which is a continuation of Swift's adventures of Gulliver, and "Capillaria", a satire of the struggle between the sexes. This volume is a selection of thirty short stories by thirty Hungarian authors; introducing some of them to the English reading public. Translated into English by Lawrence Wolfe and with an Introduction by Alexander Korda.

      [Bookseller: Antipodean Books, Maps & Prints]
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        War Paint: An Indian Pony

      New York: Charles Scribner's Sons, 1936. First Edition. Hardcover. Very good -/Very good +. Paul Brown. Quarto, unpaginated (about 100pp.), illustrated. About very good in the publisher's yellow cloth with red decoration. Mildly cocked, boards a bit rubbed, and mild, gentle wear at extremities. In a very good or better dust jacket (supplied), fresh and bright, with a heavy price clip and two closed tears. SIGNED and INSCRIBED by Brown in pencil on the title page: "To Jack - may he count many coups. Paul Brown '38." Uncommon signed.

      [Bookseller: Cleveland Book Company]
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        L'idylle Première version inédite Manuscrit autographe complet EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.: S.n., 1936. Fine. S.n., s.l. S.d (1936), 20 pages in-8 (13,5x21cm). - First original and complete version of the manuscript, written in 1936. Manuscript writing very dense, with many erasures, corrections and additions. "The Idyll, Youth Maurice Blanchot text first published in 1947 and reissued in 1951 alongside the Last Word in a small volume entitled the eternal rehashing has often been described as" insoluble enigma "[...] the circumstances of writing and publication adds to the mystery: not only the first manuscripts were lost, but the experiences he testifies and the spirit that inspired its design remain elusive. » These findings Vivian Liska (in Blanchot, Herne Cahiers 107) following those of Christophe Bident (Maurice Blanchot, invisible partner), give these first two stories, the most reprinted works of Blanchot, a unique status in his work. If the Last Word is logically part of the Thomas the Obscure writing work (Either maturation or deconstruction), Idyll appears to have "no relation to the other fictions Blanchot, both past and future, "according to Michael Holland, researcher and professor of French literature at St Hugh's College, Oxford, author of several articles on Maurice Blanchot Before that say: Essays on Blanchot appeared in 2015 at Hermann. Enigmatic literary object, even in light of a work itself complex, Idyll, more than a new youth seems at once an "experiment unrelated or incompatible with the poetics" of work to come (V. Liska) and the birth of a writing of silence. And throughout his publications, Idyll questions to its author himself who in Aftermath sees ousting of his own creation and will eventually wear identification, warning from the introduction of the futility of the attempt. First is the question of the title of the news. "Idyll" title adopted for publication reviewed in 1947, is seen from the first volume edition in 1951, dominated by another title with two-news: The eternal rehashing. In 1983, it is in turn preceded by the title of the afterword: Aftermath. The question is asked by Blanchot himself in the afterword through the designation distanced (and suddenly enriched with a subtitle) of this "story that seems to have been named - is it ironically? - The "Idyll" and the torment of the happy idea. » But this title is just missing the manuscript (which was not the case of the Last Word - see our catalog Grand Palais 2014), which undoubtedly affects the status of the story and the editorial intent of the author. Of course, beyond the title, it's the same story that resists analysis, the critics, that of Blanchot also: "It is impossible for me to know [...] how they are written and how unknown requirements they had to meet. " The original manuscript appears as a crucial source of information to try to solve some of the puzzles of the text. It says the development of character names, the various stages of writing: striped phrases indicated by single quotation marks, superimposed variants ... we discover long unpublished passages deleted directly on the manuscript or intact until publication. We can analyze it changing authorial thought by increasing accuracy of the manuscript with corrections are dwindling in the pages to become increasingly close to the published version. But what strikes, like the manuscript of The Last Word is the presence in the original version of deeply meaningful elements whose removal will contribute to the creation of a voluntary aporetic work. Blanchot's writing proceeds by pruning. We know how many weight-loss program has been Thomas the Obscure to reach its final form. In the case of The Idyll, retrenchment is more meaning since, as Blanchot notes, "as narrative, which said, stating what he has to say [...] it is he who is the idyll ". Therefore, his substance should dwindle for its essential structure appears, says Michael Holland. The many passages of the manuscript removed in 1947 are not without fulfillment traces of a version, but the revelation of a field out of the final work. The outfield is largely constituted by the relationship between the manager and his wife, Louise, which is precisely the focus of the work. The past couple we thus revealed and interpreted by the various protagonists. The director: "thirty years I have experienced the most joy that can be reserved for a man (?). I almost died of suffocation ... " Louise: "[much crossed out] the young man called every night from the garden, she refused to go down ..." Piotl: "They themselves did not have children. The revenge the fate that deprived them of origin they take it by depriving any result. They triumph of evil that they do not deserve to be a damning new misfortune which they are responsible ... "(p. 7) The characters are also more vocal about the current situation of the couple: Page 5: "A strange party, Alexander Akim, we quarreled. [Long Reach crossed out] quarrels, do you hear that? Is that true? "Said the stranger, turning to the director. - "Yes, said the latter, of course. There is something inexplicable in anger; you are looking for the cause and it is invisible; we want to see the suites and they are without number. Fortunately, she can do nothing against true friendship. » This confession of "friendship" instead of love awaited by the director himself, is a first response to the questions of Akim, response inconsistent with the mystery dominating the printed versions. But the most significant manuscript passage is probably the one, central guardian describing his discovery of the couple, shortly after their marriage, both dead and alive. More extensive than the printed version, it is especially enriched with a capital revelation, redefining the very title of the work. Page 11: "I knew something terrible had happened. [...]. I thought they were dead, both. [...]. They were sitting apart from each other on bad chairs (?), Silent and foreign, to the point that anyone would have taken for vagrants. [...] They were absolutely out of the way, they did not care that you do not fall [...]. - That's it? Akim asked. But what you describe here is [...] the feeling that is the heart of any romance, true happiness without words. - Oh Really? said the supervisor, and you call it? I call it desperation [adjective follows in quotes appears to be "happy" but was scratched by Blanchot]. » The "happy despair": the paradox was a response in the narrative, the question of the true meaning of the idyll. This is at the cost of the removal of this "interpretation" and all the narrative elements that lead to it, Blanchot can turn the question posed in the story in question by the narrative. Because the manuscript reveals is that the story of Blanchot is not elliptical, structured by the absence of meaning, but willingly incomplete, prepared by successive withdrawals of the signifier. In this obvious deterioration of the internal sense to the story, we discover also that of the symbolic link between the elements of the story. Thus, the throttle Akim by another inmate, had in the original story a disturbing echo in the relationship of the director and his wife: "She wants him to live with this hand to the throat that the clamp enough to to death. "(P. 7) Other elements of pathos, deleted publication reinforce the parallel between the silent tragedy of the couple and the detainees: "I spit in your face"; "The whip was soft and sharp steel instrument under which penetrated the flesh and by withdrawing the tearing. . "Unlike the complicity of the couple beyond misunderstanding resonates very Blanchot in a fully deleted information. It reveals a literary complicity between overseas and a supervisor "totally unaware" that "surprised Akim busy reading a little book that he always carried himself and was written in the language of his country." Among the most serious questions to which he is confronted in Aftermath, Blanchot particular emphasis on the relationship of the prophetic Idyll to history. "Wash yourself; Here we focus on hygiene. [...] He sat down and, while the water began to fall in the smoke and noise, he was seized with nausea and lost consciousness. "The episode of the shower, which opens the story almost induces a post-round concentration reading in turn assumed and rejected by Blanchot. Reading the manuscript and its variation with the printed text, if it does not resolve the issue, the yet redirects: "Here we are concerned with hygiene" proves to be originally, "everyone here is clean"; "He was seized with nausea and lost consciousness" was "he was dizzy that lifted his heart and made ??him lose consciousness." There is no correction in the manuscript, the change is contemporary with the publication and not the writing. On purely literary terms, the figure of the foreigner returns, always in anticipation to that famous Camus (which Blanchot also be the first defender): "The theme that I recognize first because Camus make the familiar is designated the first words: 'stranger'. " The manuscript here only confirms the immediate importance of the designation of the character. Michael Holland particularly emphasizes these elements that disrupt the dating of the original text: "The Idyll, while motioning towards a past (1936) is being separated and thus disoriented in relation to it, marks the emergence of a narrative in Blanchot space quite original in which disaster looming in 1936 to become final in 1940 in the fictional narrative not a mirror but a speech which by its very impossibility, is the measure of what the disaster means. » Blanchot's insistence to reject the new in the distant past, pre-apocalyptic, with the first issue in 1947, leaves no surprise. He did the same in his dedications, specifying the untimeliness of these stories: "Unfortunately these ancient pages," he wrote on the two copies of the eternal rehashing he addressed to his brother and sister, as well as his sister and his mother (see our catalog March 2015) - also note the very mysterious "alas". But it was in 1983 in Aftermath, qu'insistant still long on this seniority "these old stories, so old (fifty years)"; Blanchot offers a disturbing put into perspective this emphasis: "before Auschwitz story. At some time it may be writing any story now will be before Auschwitz. » Thus, the evocation of the camps in a new Can only be prophetic because "there can be no Auschwitz-fiction story." Therefore, what better way to escape the impossibility of writing before history? Which can not be said can also be predicted. It is tempting to look in the same story of the Idyll track of this approach in the past of this impossible. The transition to the bookseller is troubling in this regard; it offers Akim, "an ancient book that traced the history of the whole region." Akim, who would have preferred a "most recent" work, however, derives "from reading more profit he had hoped for." If the "Books" in the final version we add to this that the first visit was in the manuscript, "an old book store" and that in the passage of the loan from rare book, Blanchot deleted version published "because [the book] seemed interested in a time long past," the assumption of a fictitious dating from the author makes sense. If true, this deception of course bring a completely new light on this new and the entire work of Blanchot. However, it does not seem that the manuscript could, if not by the little details, be dated after the war. The manuscript is in large part by its size, paper quality and the writing density Blanchot, the manuscript of The Last Word we proposed in a previous catalog (or the Last Word seems to be dated with certainty). On the other hand, it is not dated, or if the date - 1936 - was a fiction element, it is likely that the Maurice Blanchot was affixed at the manuscript. A thorough study of these documents, Blanchot's writing and paper, but would definitely answer this question participating in the mystery of the most enigmatic writing of Maurice Blanchot. - [FRENCH VERSION FOLLOWS] Première version inédite et complète du manuscrit autographe, rédigé en 1936. Manuscrit à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. « L'Idylle, texte de jeunesse de Maurice Blanchot publié pour la première fois en 1947 et réédité en 1951 aux côtés du Dernier Mot dans un petit volume intitulé le Ressassement éternel a souvent été qualifié d'"énigme insoluble" [...] les circonstances de sa rédaction et de sa publication ajoutent à son mystère : non seulement les premiers manuscrits ont été égarés, mais les expériences dont il témoigne et l'esprit qui a présidé à sa conception restent difficiles à cerner. » Ces constatations de Vivian Liska (in Blanchot, Cahiers de l'Herne 107) à la suite de celles de Christophe Bident (Maurice Blanchot, partenaire invisible), confèrent à ces deux premiers récits, les plus réédités des œuvres de Blanchot, un statut unique dans son œuvre. Si le Dernier Mot s'inscrit plus logiquement dans le travail d'écriture de Thomas l'Obscur (qu'il en soit une maturation ou une déconstruction), L'Idylle semble n'avoir « aucun rapport avec les autres fictions de Blanchot, tant passées que futures » d'après Michael Holland, chercheur et professeur de littérature française au St Hugh's College à Oxford, auteur de plusieurs articles sur Maurice Blanchot dont Avant dire : Essais sur Blanchot paru en 2015 chez Hermann. Objet littéraire énigmatique, même au regard d'une œuvre elle-même complexe, L'Idylle, bien plus qu'une nouvelle de jeunesse, semble tout à la fois une « expérimentation sans lien, voire incompatible, avec la poétique » de l'œuvre à venir (V. Liska) et la naissance d'une écriture du silence.   Ainsi au fil de ses parutions, L'Idylle interroge jusqu'à son auteur-même qui dans Après-coup se voit évincer de sa propre création et s'épuise à la cerner, tout en avertissant dès l'introduction de l'inanité de sa tentative.   En premier lieu se pose la question du titre même de la nouvelle. « L'Idylle », titre adopté pour la publication en revue en 1947, se voit, dès la première édition en volume en 1951, dominé par un autre titre regroupant les deux nouvelles : Le Ressassement éternel. En 1983, celui-ci se trouve à son tour précédé du titre de la postface : Après-coup. La question est posée par Blanchot lui-même dans cette postface à travers la désignation distanciée (et soudain enrichie d'un sous-titre) de ce « récit qui semble avoir été nommé - est-ce par antiphrase ? - l'"Idylle" ou le tourment de l'idée heureuse. » Or ce titre est justement absent du manuscrit (ce n'était pas le cas du Dernier Mot - cf. notre catalogue Grand Palais 2014), ce qui, incontestablement, influe sur le statut du récit et l'intention éditoriale de l'auteur. Bien entendu, au-delà du titre, c'est le récit même qui résiste à l'analyse, celle des critiques, celle de Blanchot également : « il m'est impossible de savoir [...] comment ils se sont écrits et à quelle exigence inconnue ils ont dû répondre ». Le manuscrit originel apparaît alors comme une source d'information capitale pour tenter de résoudre quelques-unes des énigmes du texte. On y lit l'élaboration des noms de personnages, les différentes étapes de l'écriture : phrases rayées, signalées par des guillemets simples, variantes superposées... on y découvre de longs passages inédits, supprimés directement sur le manuscrit ou intacts jusqu'à la publication. On peut y analyser l'évolution de la pensée auctoriale par la précision grandissante du manuscrit dont les corrections s'amenuisent au fil des pages pour devenir de plus en plus proche de la version publiée. Mais ce qui frappe, à l'instar du manuscrit du Dernier Mot, c'est la présence dans cette version originale d'éléments profondément signifiants dont la suppression contribuera à la constitution d'une œuvre volontairement aporétique.   L'écriture de Blanchot procède par élagage. On sait combien de cures d'amaigrissement a subi Thomas l'Obscur pour arriver à sa forme dernière. Dans le cas de L'Idylle, le retranchement est plus signifiant encore puisque comme le note Blanchot : « en tant que récit, qui dit en s'énonçant tout ce qu'il a à dire [...] c'est lui qui serait l'idylle ». Par conséquent, sa substance doit s'amenuiser pour que sa structure essentielle apparaisse, précise Michael Holland. Les nombreux passages du manuscrit supprimés en 1947 ne sont donc pas les traces d'une version inaboutie, mais la révélation d'un hors champs de l'œuvre définitive. Ce hors-champ est en grande partie constitué par la relation entre le directeur et sa femme, Louise, qui est justement le point focal de l'œuvre. Le passé du couple nous est ainsi révélé et interprété par les différents protagonistes. Le directeur : « à trente ans j'ai connu la joie la plus ( ?) qui puisse être réservée à un homme. J'ai cru mourir d'étouffement... » Louise : « [une grande partie raturée] le jeune homme l'appelait tous les soirs depuis le jardin, elle refusait de descendre...  » Piotl : « Eux-mêmes n'ont pas d'enfant. La revanche sur le sort qui les a privés d'origine  ils la prennent en se privant de toute suite. Ils triomphent du malheur qu'ils n'ont pas mérité en s'accablant d'un nouveau malheur dont ils sont responsables... » (p. 7) Les personnages sont également plus loquaces sur la situation actuelle du couple : Page 5 : « Une étrange fête, Alexandre Akim, nous nous sommes querellés. [Long passage raturé] Querellés, entendez-vous cela ? » - « Est-ce vrai ? » dit l'étranger en se tournant vers le directeur. - « Mais oui, dit celui-ci, naturellement. Il y a quelque chose d'inexplicable dans la colère ; vous en cherchez la cause et elle est invisible ; on veut en voir les suites et elles sont sans nombre. Heureusement, elle ne peut rien contre la véritable amitié. » Cet aveu d'« amitié » au lieu de l'amour attendu, par le directeur lui-même, constitue une première réponse aux interrogations d'Akim, réponse incompatible avec le mystère dominant la version imprimé. Mais le passage le plus signifiant du manuscrit est sans doute celui, central, du gardien relatant sa découverte du couple, peu après leur mariage, à la fois mort et vivant. Plus étoffé que la version imprimé, il est surtout enrichi d'une révélation capitale, redéfinissant le titre même de l'œuvre. Page 11 : « Je savais que quelque chose d'horrible s'était passé. [...]. Je croyais qu'ils étaient morts, tous les deux. [...]. Ils étaient assis à l'écart l'un de l'autre, sur des mauvaises chaises ( ?), silencieux et étrangers, au point que n'importe qui les aurait pris pour des vagabonds. [...] ils étaient absolument à l'écart, ils ne se souciaient que de ne pas tomber [...]. - C'est tout ? demanda Akim. Mais ce que vous décrivez là c'est [...] le sentiment qui est au cœur de toute idylle, un véritable bonheur sans parole. - Vraiment ? dit le surveillant, vous l'appelez ainsi ? Moi je l'appelle le désespoir [suit un adjectif entre guillemet qui semble être « heureux » mais qui a été rayé par Blanchot]. » Le « désespoir heureux » : ce paradoxe constituait une réponse, dans le récit, à la question du vrai sens de l'Idylle. Ce n'est qu'au prix de la suppression de cette « interprétation » et de tous les éléments narratifs qui y conduisent, que Blanchot peut transformer la question posée dans le récit en question posée par le récit.   Car ce que le manuscrit nous révèle, c'est que le récit de Blanchot n'est pas elliptique, structuré par l'absence de sens, mais volontairement lacunaire, élaboré par retraits successifs du signifiant.   Dans cette dégradation manifeste du sens interne au récit, on découvre également celle du lien symbolique entre les éléments de l'histoire. Ainsi, l'étranglement d'Akim par un autre détenu, avait dans le récit initial un écho troublant dans la relation du directeur et de sa femme : « Elle veut qu'il vive avec cette main à la gorge qui le serre assez pour le faire mourir. » (p. 7) D'autres éléments de pathos, supprimés à la publication viennent renforcer le parallèle entre la tragédie silencieuse du couple et celle des détenus : « je te crache à la figure » ; « Le fouet était un instrument d'acier souple et tranchant qui pénétrait sous la chair et en se retirant l'arrachait. ». A l'inverse la complicité du couple au-delà de l'incompréhension trouve un écho, très blanchotien, dans un passage entièrement supprimé. On y découvre une connivence littéraire entre l'étranger et un surveillant « totalement ignorant » qui « surprit Akim occupé à lire un petit livre que celui-ci portait toujours sur soi et qui était écrit dans la langue de son pays ».   Parmi les interrogations les plus fortes auxquelles il se trouve confronté dans Après-coup, Blanchot insiste particulièrement sur celle de la relation prophétique de L'Idylle à l'Histoire. « Lavez-vous bien ; ici nous nous intéressons à l'hygiène.  [...] Il s'assit par terre et, tandis que l'eau se mettait à tomber dans la fumée et le bruit, il fut pris de nausée et perdit connaissance. » L'épisode de la douche, qui ouvre presque le récit, induit une lecture post-concentrationnaire tour à tour assumée et rejetée par Blanchot. La lecture du manuscrit et de ses variations avec le texte imprimé, si elle ne résout pas cette question, la réoriente pourtant : « ici nous nous intéressons à l'hygiène » se révèle être originellement : « ici tout le monde doit être propre » ; « il fut pris de nausée et perdit connaissance » était : « il fut pris d'un vertige qui lui souleva le cœur et lui fit perdre connaissance ». Il n'y a aucune correction dans le manuscrit, la modification est donc contemporaine de la publication et non de la rédaction. Sur le plan purement littéraire, la figure de l'étranger renvoie, toujours par anticipation, à celle célèbre de Camus (dont d'ailleurs Blanchot sera le premier défenseur) : « Le thème que je reconnais d'abord parce que Camus le rendra familier, est désigné dès les premiers mots : "l'étranger" ». Le manuscrit, ici, ne fait que confirmer l'importance immédiate de cette désignation du personnage. Michael Holland souligne particulièrement ces éléments qui perturbent la datation du texte originel : « L'Idylle, tout en faisant signe vers un passé (1936) s'en trouve séparé et de ce fait, désorienté par rapport à lui, marque l'irruption chez Blanchot d'un espace de narration tout à fait original, dans lequel le désastre qui s'annonce en 1936 pour devenir définitif à partir de 1940 trouve dans le récit de fiction non pas un miroir mais un discours qui, par son impossibilité même, prend la mesure de ce que le désastre signifie. » L'insistance de Blanchot à rejeter sa nouvelle dans un lointain passé, pré-apocalyptique, dès la première parution en 1947, ne laisse pas d'étonner. Il fait de même dans ses dédicaces, précisant l'inactualité de ces récits : « ces pages hélas très anciennes » écrit-il sur les deux exemplaires du Ressassement éternel qu'il adresse à son frère et sa belle-sœur, ainsi qu'à sa sœur et à sa mère (voir notre catalogue de mars 2015) - notons par ailleurs le très énigmatique « hélas ». Mais c'est en 1983, dans Après-coup, qu'insistant encore longuement sur cette ancienneté « ces deux récits anciens, si anciens (une cinquantaine d'année) » ; Blanchot offre une troublante mise en perspective de cette insistance : « récit d'avant Auschwitz. A quelque date qu'il puisse être écrit, tout récit désormais sera d'avant Auschwitz. » Ainsi, l'évocation des camps dans une nouvelle ne peut-elle être que prophétique car : « il ne peut y avoir de récit-fiction d'Auschwitz ». Dès lors, quelle meilleure façon de se soustraire à cette impossibilité que d'écrire avant l'Histoire ? Ce qui ne peut plus être dit peut encore être prédit. Il est tentant de chercher dans le récit même de l'Idylle la trace de cette approche par le passé du présent impossible. Le passage chez le libraire est à cet égard troublant ; celui-ci propose à Akim, « un livre très ancien qui retraçait l'histoire de toute la contrée ». Akim, qui aurait souhaité un ouvrage « plus récent », tire cependant  « de sa lecture plus de profit qu'il n'en avait espéré ». Si l'on ajoute à cela que dès la première visite le « libraire » de la version finale est, dans le manuscrit, « une boutique de livres anciens » et que dans le passage du prêt du livre rare, Blanchot a supprimé de la version publiée : « car [le livre] semblait s'intéresser à une époque depuis longtemps révolue », l'hypothèse d'une datation fictive de la part de l'auteur prend tout son sens.   Si elle était avérée, cette supercherie apporterait bien entendu un éclairage totalement neuf sur cette nouvelle et sur l'œuvre entière de Blanchot.   Cependant, il ne nous paraît pas que le manuscrit puisse, sinon par ces petits détails, être daté d'après la guerre. Le manuscrit correspond en grande partie, par son format, la qualité du papier et la densité d'écriture de Blanchot, au manuscrit du Dernier Mot que nous proposions sur un catalogue précédent (or le Dernier Mot semble être daté avec certitude). D'autre part, il n'est pas daté, or si la date - 1936 - était un élément de fiction, il est probable que Maurice Blanchot l'eut apposée dès le manuscrit. Une étude approfondie de ces documents, de l'écriture de Blanchot et du papier, permettrait toutefois de répondre définitivement à cette question qui participe au mystère du plus énigmatique écrit de Maurice Blanchot.

      [Bookseller: Librairie Le Feu Follet]
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        Giant Otto

      New York: Viking Press. 1936. First. First edition. Slight stains on the boards and front panel of the jacket, still a pleasing, near fine copy in a near fine dustwrapper with tiny nicks on the rear panel. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Typed letter signed.

      1936. Signed. MITCHELL, Margaret. Typed letter signed. Atlanta, Georgia, December 4, 1936. Original ivory leaf (6-1/2 by 11 inches), typescript and signature on the recto; later tan leaf (6-3/4 by 9-1/4 inches) with mounted original clipped postmark and printed return address label. $2500.Scarce December 4, 1936 typed letter signed by Margaret Mitchell the same year as publication of Gone with the Wind, expressing her deeply personal thanks to a reader, writing in part: ""I wish I could tell you how much I appreciated the letter you sent me… You were kind to write as though Scarlett and Rhett were real people to you. There is no greater compliment that can be bestowed up an author than this.""With the publication of Gone With the Wind in mid-1936, Margaret Mitchell became ""an overnight celebrity"" (Edwards, 20). This letter, in typescript and written from Atlanta by Mitchell at the end of that year, reads: ""Atlanta, Georgia, December 4, 1936. My dear Miss George: I wish I could tell you how much I appreciated the letter you sent me about 'Gone With the Wind'. You were kind to write as though Scarlett and Rhett were real people to you. There is no greater compliment that can be bestowed upon an author than this. I am sorry you wept about the ending but I can't help feeling terribly flattered that you did! Sincerely [signed] Margaret Mitchell [typescript] Margaret Mitchell."" This early and wonderfully personal response signed by Mitchell in the novel's year of publication is quite rare, and important to any Mitchell collection. Accompanying the original letter, which contains a trace of glue remnants to the verso, is a separate later leaf (with matching trace of glue remnants) containing a clipped original postmark of ""Atlanta, GA., Dec 8, 1:30 PM, 1936,"" and a clipped original return address label printed with Mitchell's Atlanta Address of 4 East Seventeenth Street, N.E., each tipped to the leaf recto: both seemingly from the letter's original envelope. Address label with small loss to top edge minimally affecting print.Text and signature crisp and dark, faint foldlines. A fine signed letter.

      [Bookseller: Bauman Rare Books]
 39.   Check availability:     Biblio     Link/Print  

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