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


      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.

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        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]
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        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]
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      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]
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        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]
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        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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      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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      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]
 18.   Check availability:     Biblio     Link/Print  

        Meyers Lexikon 8. Auflage, 10 Bände (incl. Atlasband), alle Beilagen / Nachlieferungen, 1936-1942

      Bibliographisches Institut 1936-1942, Leipzig - Meyers Lexikon. Achte (8.) Auflage. Alle veröffentlichten 10 Bände: Textbände 1-9 & Atlas-Band 12. Rücken aus dunkelbraunem Original-Kunstleder mit zwei Rückenschildern & Goldprägungen. Format ca. 25 x 18,5 cm. Wie auf den Abbildungen 10-15 ersichtlich, mit der ausfaltbaren Tafel 'Der Mensch' (Band 7) sowie der nachgelieferten Beilage zu Band 2 & der nachgelieferten Deutschlandkarte zum Atlasband. Anbei findet sich zudem noch die Original-Rechnung (sowie zwei Zahlkarten) einer örtlichen Buchhandlung vom 14.05.1937 über die ersten zwei gelieferten Bände 1 sowie 12 (zum Preis von je 15 RM), s. Bild 4. Der hervorragende Erhaltungszustand der Bände & die noch beiliegende Rechnung deuten darauf hin, dass die Ausgabe nur wenig benutzt wurde. Wie auch den ersten vier Originalbildern zu entnehmen, sind die Buchrücken & Außengelenke ohne Einrisse (Band 9 mit dem typisch andersfarbigen Rückenetikett). Die Leinenbezüge der Deckel sind incl. der Kanten nicht berieben. Der Buchschnitt mit der üblichen Standspur, ansonsten durchgängig sehr gut erhalten; es ist lediglich einmal ein kleiner Fleck zu finden. Innen ebenfalls tadellos. Keine losen oder fehlenden Seiten; feste Bindung. Grafiken, Karten & Abbildungen einwandfrei. Keine Fleckigkeit, sehr sauber, kein unangenehmer Geruch. In drei Bänden sind einige wenige Seiten am Rand etwas geknittert, nicht gravierend. Der Atlasband weicht wie so häufig in der Erhaltung ab, hier jedoch auch nur gering: auf dem vorderen Innendeckel einige Flecke, Buchschnitt leicht angeschmutzt & zwei Seiten des Inhaltsverzeichnisses mit einem kleinen Einriss am Rand. ••• Die Bilder 2 ff. sowie weitere Informationen zu dieser Auflage finden Sie wie immer auf unseren eigenen Internetseiten. ••• 22500 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
 19.   Check availability:     ZVAB     Link/Print  

        Keep The Aspidistra Flying

      Gollancz, 1936. Hardcover. Very Good. A first edition, first printing published by Gollancz in 1936. A very good+ book without inscriptions. Small stain to the corners of five pages. A thin light stain to the rear board of the book. Some off-setting to the endpapers. No dust wrapper Scarce.

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

        Miami and Suburbs - 1936 - Miami Beach Sheet 1 - (Miami Beach - area bound by 7th St., South end of Miami Beach/South Beach, Biscayne Bay, and Atlantic Ocean)

      1936 - This very detailed map is from an early twentieth century fire insurance atlas for Greater Miami, FL., “Plat Book of Greater Miami Florida and Suburbs from official records, private plans and actual surveys…”, published by G.M. Hopkins Co. Fire insurance atlases are famous for providing the most complete and accurate cartographic record available for the time period. Much of Miami and vicinity depicted here has been dramatically altered or has completely changed. The map is drawn on the grand scale of 1 inch equals 100 feet. Every existing building is shown, with many color coded to indicate building material (brick, frame, stone or concrete, etc.). Apartment houses, stables, electric railways, steam railroads, house numbers, street widths, lot numbers, and a wealth of other details are indicated. Map has pasted down overlays that contain additions or corrections. This map is very desirable for anyone interested in the history of Miami and Miami Beach.

      [Bookseller: Art Source International Inc.]
 21.   Check availability:     AbeBooks     Link/Print  

        Weird Tales Pulp September 1936-Wild Margaret Brundage cover- Conan VF-

      Weird Tales 1936 - Pulp cover by Margaret Brundage. Second installment of the "Red Nails" Conan pulp story by Robert E Howard. Pulp thrills. Condition: VF-

      [Bookseller: DTA Collectibles]
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      The Bodley Head, London 1936 - 1st edition printed in the UK and limited to only 1000 copies - this is one of the 900 printed on japon vellum paper bound in linen buckram being number 971 as stated on the limitation page. In publisher's original cloth with Eric Gill Homeric bow to front board and titles to spine in gilt - still very good with some fading at board edges, browning/fading with a few marks to spine and some moderate rubbing at corners one of which is a little bumped. The binding is tight, sound and square. Internally endpapers with sound gutters and some very light foxing; pages generally age-toned. A nice copy. Size: 4to - over 9¾" - 12" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: London Rare Books, PBFA]
 23.   Check availability:     AbeBooks     Link/Print  

        The Sinister Sign Post (The Hardy Boys #15)

      New York: Grosset & Dunlap, 1936. 1st. Decorative Cloth. Collectible; Very Good/Very Good. The 1936 correct 1st edition (Carpentier, Heffelfinger) of this, the 15th title in the original Hardy Boys series. Issue points: This is the 15th and last title listed on the front flap, there are 14 "X Bar X Boy" titles listed on the rear flap and the back panel lists 9 "Great West" titles. A solid, very presentable copy to boot. Tight and VG+ in its light-brown cloth (with no writing or marks of any kind internally) in a bright, price-clipped, VG dustjacket, with very light soiling along the foot of the spine and, inconspicuously, to the inside of the jacket. Thick 12mo, 215 pgs. Frontispiece, endpapers and pastedowns and dustjacket design by J. Clemens Gretter.

      [Bookseller: Appledore Books, ABAA]
 24.   Check availability:     Biblio     Link/Print  

        Schweizerkunst in Bern. XIX Nationale. Lithographie.

      Laupen, Polygraphische Gesellschaft 1936 - 128 x 90.5 cm, Zustand A. AuftraggeberIn: Kunstmuseum Bern. 900 gr. Schlagworte: Plakate - Kunst

      [Bookseller: antiquariat peter petrej]
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        Absalom, Absalom!

      Random House, New York 1936 - 384 pp, folding map. Quarter green cloth spine stamped in gilt and patterned paper boards, top edge gilt, uncut. One of 300 copies printed on Holliston rag paper, signed and numbered by Faulkner, this being copy 201. Includes Faulkner’s fictional Yoknapatawpha County as issued. A very near fine and soild copy with wear to the corners, a minor spot of shelf rub to the bottom edge, and faint age toning to preliminary leaves. Along with The Sound and the Fury, Absalom, Absalom! ranks at the top of Faulkner's achievements as a writer. He was awarded the Nobel Prize in 1949. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Gerald W. Cloud Rare Books]
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        Géométrie Supérieure. Cours de Mr Cartan 1936-1937 [ Manuscrit d'un élève de l'Ecole Normale Supérieure en 1936 - 1937 ]

      2 vol. in-8 manuscrit en feuillet sous chemise entoilée, 1936-1937, 151 ff. Le mathématicien Elie Cartan (1869-1951) fut titulaire de la chaire de géométrie supérieure de la Faculté des Sciences de Paris de 1924 à 1940. Bon état pour ces rare notes de cours manuscrites rédigées par un élève normalien (promo 1935) dont Arnaud Denjoy utilisa les compétences pour la mise en forme et la publication du cours sur la théorie des fonctions de variable complexe ainsi que de celui sur les applications géométriques de l'analyse. Français

      [Bookseller: Librairie Du Cardinal]
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        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]
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        Amtliches Gemeindeverzeichnis für das Deutsche Reich auf Grund der Volkszählung 1933

      unbekannt 1936 - - Statistik des Deutschen Reiches, Band 450. Volks-, Berufs- und Betriebszählung vom 16. Juni 1933 - Sprache: Deutsch Gewicht in Gramm: 1100 1. Auflage, Verl. für Sozialpolitik, Wirtschaft u. Statistik, Bln., 1936. 378 S., Pbd., quart. (2 StaT.) [Attributes: Hard Cover]

      [Bookseller: Celler Versandantiquariat]
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      London: Geoffrey Bles, 1936.. Octavo, pp. [1-4] 5-159 [160: blank], original green cloth, front and spine panels stamped in white. First edition. "Adulterous couple are modern reincarnation of faun and dryad, driven by ancestral memory to reenact ancient tragedy in haunted wood. Full-blooded romantic treatment, definitely a Dionysian rather than an Apollonian approach. Unusual, nicely done." - Robert Knowlton. Bleiler (1978), p. 190. Reginald 13939. The delicate white stamping on the spine panel has perished, a very good copy in very good pictorial dust jacket with light wear at edges and some tanning, most noticeably on the spine panel. (#148745)

      [Bookseller: L. W. Currey, Inc. ]
 30.   Check availability:     ABAA     Link/Print  

        International Picture Language. The First Rules of Isotype

      Bok. London: Kegan, Paul, Trench and Trubner. First Edition 1936. . 117 p. Publishers Red and Wite Hardcover. With isotypes Pictures. V.G.Condition. Psyche Miniatures General Series No.39

      [Bookseller: T Sundbergs Antikvariat]
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        Die Blendung.

      8, 560 S., Deckelillustration von Alfred Kubin, Etwas berieben u. gebräunt. Rückendeckel u. Schnitt etwas fleckig. Gutes Exemplar, (W/G2 4) Auf dem Titelblatt ist das Erscheinnungsjahr mit 1936, das Copyright mit 1935 angegeben. Mit einer Einbandillustration von Alfred Kubin.

      [Bookseller: antiquariat peter petrej]
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      Constable, London 1936 - Novel of the London underworld, "set against a lowering, uneasy panorama of the London of mean streets and scaling housefronts." One of Metcalfe's few forays outside the realm of fantasy fiction. Published in the United States as "Sally, The Story of A Foster-Girl." Uncommon, especially in dustwrapper. Octavo (21cm). Green cloth boards; dustjacket; 572pp. Purple top-stain slightly faded, else a tight, Near Fine copy in the original pictorial dustwrapper, price-clipped and with minor spots of rubbing at flap-folds and spine ends; Very Good Plus. [Attributes: First Edition]

      [Bookseller: Lorne Bair Rare Books, ABAA]
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      New York: The Macaulay Company, 1936. First edition. A near fine copy, previous owner inscription to front free end paper, some darkening to edges of text block, dustiness to top edge in a near fine price clipped dust jacket, some light shelf wear/rubbing to edges, light rubbing to spine ends with very light chipping to head of spine panel, small closed tear to lower front panel. (8233). Octavo, Hardcover. Second and final mystery under this pseudonym.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Schicksal SA. Die Deutung eines großen Geschehens. Von einem, der es selbst erlebte * mit eingeklebter, gedruckter O r i g i n a l - W i d m u n g von SA-Obergruppenfüjhrer von Jagow

      München, Zentralverlag der NSDAP, Franz Eher Nachf., 1936. Vollständige Ausgabe im Original-Verlagseinband (Leinen / GLn / OLn / Ln im Format 13 x 18,7 cm) mit Rücken- und Deckeltitel, 209 Seiten, Schrift. Fraktur. - Aus dem Inhalt: Geleitwort - Aufbruch (Kameraden / Ruf des Schicksals / Das Gesicht des Kampfes / Und dennoch! / Die Fahne hoch!) - Opfergang (Die neue Macht / Das Erbe der Front / Um Treue / Drohung über dem Land / Der Sturmführer / Durchbruch / Um die Entscheidung / Der große Marsch / Schicksal SA. / Brennendes Land / Die Macht des Opfers / Freiheit! / Disziplin / Das gerettete Reich) - Erfüllet das Erbe! (Um den Sinn des Kampfes / Die Mahnung der Toten / Die Pflicht / Ewiges Deutschland). Mit Druckvermerk: \"Die Handlung beginnt im Frühjahr des Jahres 1926 und endet im Sommer des Jahres 1934\". Mit eingeklebtem Zettel auf dem vorderen Vorsatz: \"Den alten Sturmsoldaten der Berliner SA. zum 31.10.1936. Mit der SA. hat die nationalsozialistische Bewegung das alte System zertrümmert. Der SA.-Mann hat gegen alle und gegen alles gekämpft, wenn der Führer es befahl. Er kämpfte gegen Untermenschen, gegen Kommune und gegen bürgerliche Reaktion. Mit diesen SA.-Männern konnte Adolf Hitler gegen den Teufel marschieren, weil es um Deutschland ging. Die Zukunft des Volkes wird es euch danken. Es lebe der Führer. von Jagow, Obergruppenführer\" (Namenszug faksimiliert). - Band 2 der Reihe \"Bücher der jungen Nation\". - Erstausgabe in sehr guter Erhaltung: Einband und einige Seiten etwas stockfleckig, sonst tadellos - Deutsches / Drittes Reich, Deutschland vor dem 2.Weltkrieg, SA, des Führers Sturmabteilung, Kampf und Sieg der Bewegung, Kampfzeit der NSDAP, SA Männer in der Bewährung, Adolf Hitler, deutsche Zeitgeschichte 1926-1934, Alles für Deutschland!, SA-Führer Dietrich von Jagow, NS.-Schrifttum, Kampf der Sturmabteilung gegen Untermenschen und Bolschewismus sowie gegen bürgerliche Reaktion, Weltanschauung der Nationalsozialismus, Antisemitismus, scharfer judenfeindlicher Standpunkt, völkisches / nationalsozialistisches Gedankengut Versand D: 5,90 EUR Deutsches / Drittes Reich, Deutschland vor dem 2.Weltkrieg, SA, des Führers Sturmabteilung, Kampf und Sieg der Bewegung, Kampfzeit der NSDAP, SA Männer in der Bewährung, Adolf Hitler, deutsche Zeitgeschichte 1926-1934, Alles für Deutschland!, SA-Führer Dietrich von Jagow, NS.-Schrifttum, Kampf der Sturmabteilung gegen Untermenschen und Bolschewismus sowie gegen bürgerliche Reaktion, Weltanschauung der Nationalsozialismus, Antisemitismus, scharfer judenfeindlicher Standpunkt, völkisches / nationalsozialistisches Gedankengut

      [Bookseller: Galerie für gegenständliche Kunst]
 35.   Check availability:     Link/Print  

        2 Photograph Albums of Gordon Auchincloss including images from his years at the Groton School and Yale University

      1936. Over 500 tipped black and white and sepia toned photographs. Oblong 4to. Pebbled, and grained leather, wear to extremities, minor scuffing, VG. Over 500 tipped black and white and sepia toned photographs. Oblong 4to. GROTON SCHOOL. A photographic chronicle of the first two decades in the life of Gordon Auchincloss from infancy to college. Highlights include the Groton School 50th Anniversary, June, 1934 with Fraklin D. Roosevelt pictured seated in the center of the porch, the Groton Football team of which Gordon was the Captain and left tackle, photo of Coaches and Captains of the Annual St. Marks-Groton Game November, 1934, action images from football games, and the Yale Freshmen Glee Club-1936. Gordon Auchincloss (1886-1943) was born in New York, and was the son of Edgar Stirling and Maria LaGrange Sloan Auchincloss. His grandfather, Samuel Sloan, was president of the Delaware, Lackawanna & Western Railroad, and the Hudson River Railroad, predecessor of the New York Central System. Auchincloss graduated from Groton School in 1904. He received an A.B. degree from Yale University in 1908, and an LL. B. degree from Harvard Law School in 1911. He married Janet House on September 14, 1912. Auchincloss served as assistant United States attorney for the Southern District, New York and as special assistant to the Attorney General of the United States. He was a member of the law firm of Auchincloss, Alley & Duncan, and served as secretary of the American War Mission to England and France in November, 1917, and as secretary to his father-in-law, Colonel Edward M. House, during negotiations of the Armistice in November, 1918, and during the Paris Peace Conference in 1919. In addition to Chase National Bank, he was a director of International Paper and Power Company, the Crosse & Blackwell Company, societe Financiere de Transports et d'Enterprises Industrielles of Brussels, Belgium; Solvay American Corporation and Compania Hispano Americana de Electicidad of Barcelona, Spain.He was assistant treasurer of the Democratic National Committee in 1916, chairman of the fund raising committee of the New York Association for the Blind, a trustee of the Riverside Church, a member of the State and city bar associations, and Psi Upsilon and Scroll and Key of Yale. Auchincloss died at the age of 56 after a brief illness.

      [Bookseller: James Cummins Bookseller]
 36.   Check availability:     Biblio     Link/Print  


      S.T.A.M.P.A, 1936. ITALIANO 0,36 Pagine brunite causa tempo e con lieve fioritura, illustrazioni in nero nei testi e fuori testo, rari segni a matita, a fine volume albero genealogico, al retro frontespizio articolo di giornale incollato, coperta morbida ingiallita, con fioritura e con alcuni piccoli appunti al lato anteriore, usura ai bordi USATO

      [Bookseller: Biblioteca di Babele]
 37.   Check availability:     Link/Print  

        Mary Lavelle

      1st IMPRESSION. 8vo., 345pp. Publisher's brown cloth with gilt titles to front and spine. The original dust jacket is split along the lower joint and across the bottom of the spine and a chip at the top of the spine. Many of her books deal with issues of female agency and sexuality in ways that were new and radical at the time. This book was banned in Ireland.

      [Bookseller: Rainford & Parris]
 38.   Check availability:     PBFA     Link/Print  


      London: Philip Allan, 1936.. Octavo, pp. [1-8] 9-256, original green cloth, spine panel stamped in black. First edition. One of three variant bindings, priority, if any, not known. Signed inscription by Hamilton on the front free endpaper to Dirce Archer. The author's first book, preceded by a mimeographed booklet printing a short story. One of the earliest single author pulp SF story collections, collecting fiction from WEIRD TALES and SF specialty pulps of the late 1920s and early 1930s. This was also one of the titles in the publisher's Creeps series -- and an interesting sign of how "science fiction" and "horror" had not yet bifurcated into separate genres. Anatomy of Wonder (1981) 2-38; (1987) 2-41; (1995) 2-50; and (2004) II-487. Bleiler, Science-Fiction: The Early Years 999 ("Monster-God of Mamurth"). Locke, A Spectrum of Fantasy, pp. 103-04. Survey of Science Fiction Literature IV, pp. 1939-43. Bleiler (1978), p. 92. Reginald 06702. A couple of mild spots to cloth, text paper a bit tanned, a very good copy. (#152818)

      [Bookseller: L. W. Currey, Inc. ]
 39.   Check availability:     ABAA     Link/Print  

        Time to Kill

      Alfred A. Knopf, New York 1936 - 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*. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
 40.   Check availability:     AbeBooks     Link/Print  


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