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Displayed below are some selected recent viaLibri matches for books published in 1943

        LE PETIT PRINCE

      New York City: Reynal & Hitchcock. 1943. First edition. hb. Larger 8vo, pp. 91. The first French language edition, with pagination identical to the first English language edition. . Fourth Avenue publisher's address on the front interior flap of the jacket. Green coat - not blue on page 11, and the "mark of the crow" on page 63. The dust jacket has chipping at the spine ends and the corners of the flaps, with several small creases, rubbing along the extremities, and noticeable tanning and foxing, more so to the spine. The jacket's front interior flap shows the original retail price of $2.00 printed at the corner (i.e., not price clipped). Bound in original salmon cloth (identical to the English edition) with title and "Prince" figure stamped in red, to the front board, and red stamped lettering to spine. Bottom corners bumped and rubbed. A few other spots of rubbing, or slight bumping to board edges. Cloth clean. Endpapers show some toning. Address written in pencil to front free end paper (could be erased), and a few small pencil marks to rear endpaper (also could be erased). Binding tight, contents clean and bright. .

      [Bookseller: GREENFIELD BOOKS]
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        La Chronique de Paris du N°1 au N°9 collection complète EDITION ORIGINALE

      Paris: Editions Balzac, 1943. Fine. Editions Balzac, Paris Novembre 1943 - Juillet 1944, 15,5x24cm, 9 fascicules brochés. - Complete Edition in 9 installments of this literary obedience collaborationniste.Contributions P. Drieu la Rochelle, J. Anouilh, A. Fraigneau, G. Brown, R. Brassillach, L. Rebatet, R. Heron Villefosse, J. La Varende Mr. Jouhandeau Chardonne J., A. de Chateaubriant, Mr. Mohrt Mr. Ayme, K. Epting, P. Fort, L. Combelle ... A little lack in foot of the back of No. 1 , some spots on most boards, a small lucky charm leading the first flat second fascicule.Agréable together under the very poor quality of the paper war. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale complète en 9 fascicules de cette littéraire d'obédience collaborationniste. Contributions de P. Drieu la Rochelle, J. Anouilh, A. Fraigneau, G. Blond, R. Brasillach, L. Rebatet, R. Héron de Villefosse, J. de La Varende, M. Jouhandeau, J. Chardonne, A. de Chateaubriant, M. Mohrt, M. Aymé, K. Epting, P. Fort, L. Combelle... Un petit manque en pied du dos du N°1, quelques rousseurs sur la plupart des plats, un petit gri-gri en tête du premier plat du second fascicule. Agréable ensemble au regard de la très médiocre qualité de ce papier de guerre.

      [Bookseller: Librairie Le Feu Follet]
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        Nazi Subversive Organization, Past and Future [Blueprint for The Nazi Underground as Revealed in Confidential Police Reports]

      Published by the author, [Lansdowne, Pa] 1943 - Quarto. [3], III, 237 loose leaves, as issued. Original printed wrappers. Staff study published only for OMGUS (the Office of Military Government, United States), in which Robert Max Wasilii Kempner publishes for the first time three documents that he was able to bring out of Germany, and which are intended to help "exterminate the coming Nazi underground and to maintain public safety in post-WWII Germany." Mr. Kempner was a successful lawyer in Berlin during the 1920s who became the chief legal advisor to the police in Prussia and an opponent of Nazism. He left Germany after Hitler came to power and settled in the United States*. After World War II Kempner returned to Germany, the land of his birth, to serve as assistant US chief counsel during the International Military Tribunal at Nuremberg**. In a spectacular reversal of fortune, Kempner would prosecute two of his former superiors and persecutors - Hermann Goering and Wilhelm Frick. The three documents, published in their entirety, are the following:- Document A: Confidential Report of the Prussian Secret Police. This document explores the 'treasonable character of the National Socialist German Workers Party (NSDAP)'- Document B: Confidential Report of the Bavarian Police. A 1924 document suggesting the deportation of Adolf Hitler.- Document C: Correspondence Between the Reich Attorney General and the Author (regarding law enforcement against the NSDAP).Wrappers and leaves are loose and hole-punched, as the book was intended to be placed in a binder. Text in typed script. Wrappers and interior in overall very good condition. * After the Nazi rise to power in 1933, Hermann Goering fired Kempner from his position because of his anti-Nazi activities. Kempner was then arrested and held for two months in a concentration camp after being accused of leaking information about Germany's rearmament, activities forbidden under the post-World War I Treaty of Versailles. In 1935, Wilhelm Frick, then the Interior Minister, used Kempner's Jewish background to revoke his German citizenship. Kempner was then expelled from Germany. He taught law for a few years in Italy before immigrating to the United States. ** At Nuremberg, Mr. Kempner's work included heading the prosecutorial unit that drew up the case against Hermann Goring, one of the main figures in the Hitler regime, and against other Nazis who were defendants at the principal war crimes trial there. He also was credited with finding, in 1947 among diplomatic archives in what was then West Germany, what became widely known as the Wannsee Protocol. This was a record of a conference in January 1942 at which high-level Nazis approved plans for what later became known as the Holocaust but in Nazi jargon was termed "the final solution" of the Jewish problem. [Attributes: First Edition; Soft Cover]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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        Where the Two Came to Their Father: A Navaho War Ceremonial

      Pantheon Books, New York 1943 - 18 lg.pochoir prints w/84+4pp.booklet (SC gray w/blk.); some rub w/clean,tight pgs. In 1941, when young Navahos left the reservation for the army, King performed this ritual for them, which included songs and elaborate sand paintings, to keep the young men's souls healthy as they went to fight. Maud Oakes was allowed to record the ceremony, including the sand paintings. "It is one of the most complete extant recordings of a Navajo ritual." Size: Folio/Elephant [Attributes: First Edition; Hard Cover]

      [Bookseller: Xochi's Bookstore & Gallery]
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        Tradition et surréalisme Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 2 pages in-4, 2 1/2 pages in-8. - Autograph manuscript of the author of 2 and a half pages 4to published in the issue dated 23 December 1943 of the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Typescript is complete seal. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" made its first steps in the field of literary criticism and inaugurates a theoretical work that would later develop Many in these trials, "La Part du feu" to "The Infinite Conversation" and "The Writing of the Disaster." From the very first articles, Blanchot demonstrated analytical acuity far beyond current literature that motivates writing. Oscillating between classic and modern, first-class writers and minor novelists, he puts in his columns, the foundations of critical thinking that will mark the second half of the twentieth century. Transformed by writing and by war breaks Blanchot, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism in philosophical act of intellectual resistance to barbarism at the heart of "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer of his own rhetoric, delivered more to the echo of the impossible or the lure of disappearing. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal a critical genealogy that has transformed the opportunity to chronicle the necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 2 pages et demie in-4 publiée dans le numéro du 23 Décembre 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. On joint le tapuscrit complet. Cet article, un des rares parus en première page du journal, est une audacieuse critique de la vision traditionaliste de l'Art, qui arguant de la nécessaire adéquation entre Art et Vérité, condamne la Modernité. Avec une rigueur intellectuelle implacable, Blanchot démontre comment cette conception de "l'Art authentique" "rejoint exactement celle des surréalistes" et cite un des principes majeurs du Surréalisme comme parfaite démonstration des propos d'Hourticq. Dans une France obsédée par le rejet de l'Art Dégénéré, Blanchot révèle les contradictions des traditionalistes: "' ils admettent que l'art en général précède la science, et c'est au nom de la science passée (...) qu'ils condamnent les mouvements nouveaux de l'art." Blanchot, sous couvert de critique littéraire, questionne à nouveau son époque : (...) Encore serait-il bon de rechercher si justement la science toute moderne ne se reconnait pas dans l'univers "déforméé, décomposé, hors d'usage, que l'art a rendu familier à nos regards." Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        Just weeks before the Invasion of Sicily, Patton writes to the Top Doc at D-Day, who also attended him on his deathbed after his fatal accident. Ironically, he assures his old friend that Eisenhower disapproved of a perceived demotion. A month after Sicily, Patton would be demoted and reprimanded by Ike for the famous "slapping incident."

      APO, NYC, June 4, 1943. 8" x 10.5". "Typed Letter Signed ""G S Patton Jr.,"" 1 page, 8"" x 10.5"". APO #758, NYC, June 4, 1943. To Brigadier General Albert Kenner, Fitzsimmons General Hospital, Denver, Colorado, USA. On lightweight stationery. Fine condition.In full, ""There is no use crying over spilt milk. Both you and I have had the experience of being temporarily gyped. But I am very sorry to hear that you are in the clutches of your own profession. I feel sure though that as husky a man as you are has really nothing the matter with him, and you will shortly be out.""You know without my saying it that any time you feel like coming backing to anything I may command, you will be the head surgeon of it. In this I am perfectly sincere and while I cannot offer a great deal at the moment, things may change any time.""Again, I wish to tell you how dreadfully sorry I am, and to assure you that the Big Boss, who visited me the other night, is deeply cut up. I am sure that everything will straighten out in the end, and that there is plenty of time in this war for all men of your rare quality to gain the recognition they deserve...""A graduate of the George Washington University School of Medical School in 1915, Dr. Albert Kenner (1889-1959) joined the Army in 1916 and served in France with the 26th Infantry Regiment, 1st. Infantry Division, American Expeditionary Force. He was wounded in combat and received the Distinguished Service Cross. In 1936, Kenner became Post Surgeon at Fort Myer, Virginia, and physician to the Post Commander, then-Colonel George S. Patton. In the early phase of World War II he was at Fort Knox, Kentucky, then was transferred to Morocco where he was the medical officer for Operation Torch, the 1942 invasion of Casablanca. Advanced to Brigadier General on December 1, 1942, he was promoted to Major General on October 7, 1943. Dr. Kenner was chief medical officer for Operation Overlord, the D-Day invasion, and was later Third Army Surgeon making him once again Patton's doctor.As Chief Surgeon for Army Service Forces in the European Theatre, Major General Kenner was in Frankfurt on December 9, 1945, when he heard that General Patton was injured in an automobile accident near Mannheim, Germany. He was there within hours to take charge. General Patton had broken his neck and was paralyzed from the neck down. He slowly showed signs of improvement and on December 19th was said to be making ""very satisfactory progress"" but on the 20th, he suffered a pulmonary embolism that virtually destroyed one of his lungs. General Patton died in his sleep on December 21, 1945, of acute heart failure when another embolism struck his remaining lung. After Patton's death, Dr. Kenner wrote to a fellow Army surgeon, ""The service lost its best field commander and I lost a damn good friend."" "

      [Bookseller: University Archives]
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        Hand-carved sunken relief of a Spitfire on slate, carved by a Polish Air Force P.O.W. while imprisoned at Stalag Luft III, the site of "The Great Escape."

      [Zagen, Poland], c. 1943-1945. 5" x 4.5". "A piece of slate, measuring 5"" x 4.5"", recovered from the site of Stalag Luft III in Zagen, Poland which has been expertly hand-chiseled into the shape of Spitfire fighter plane, adding the Initials ?JK,"" (presumably those of the original pilot). It has a square diced insignia on one wing which is the Polish emblem and was made by a Polish P.O.W. who was interned there. Affixed to the reverse is an old museum label in German identifying it as such which reads: ""Das stützen auf schiefer durch einen Polnischen Kriegefangenen im Zagen Lager."" From the collection of ""Great Escape"" relics assembled by the founder of ""The War Museum"" and will come with a special certificate for each item. As a collector and curator for over 50 years, these items largely obtained from former Allied prisoners of war as well as local farmers and townspeople in the town of Zagen, Poland (formerly Sagen, Germany). The camp is seven square miles in total and is covered in pine forests. In the last weeks of the war as the Russians reached the camp, the German guards hurriedly buried their equipment, changed into civilian clothes and fled. The Allied POW?s were sent on a forced march in the snow southward to Nurnberg, then to another camp at Moosburg where they were liberated on April 29, 1945. At Zagan there are still various compounds and many areas of derelict buildings and footings. In the 1950?s and ?60?s the local townsfolk and farmers explored and excavated relics from the areas which were only accessible with a four wheel drive vehicle in the more remote parts, having various maps and a compass and even then it was easy to get lost. Such relic hunting has not been permitted over the last several decades, making these early recoveries prized and sought after pieces of history. The camp is virtually inaccessible by foot apart from an area near to the Zagan POW Museum. Most of the relic floor & roof tiles, floor boards, drain pipe pieces, electrical insulators from the high-voltage fences, barbed wire, etc. all have their identical counterparts in the Zagan POW Museum. The P.O.W. camp at Sagen was known as Stalag Luft III, and was managed by the Luftwaffe to house Allied airmen downed over Germany. The Germans established the camp, located in Lower Silesia, in March 1942 and the camp remained in service until January 1945. It was the scene of two famous escape plots, both involving tunneling: one in 1943, which was depicted in the film The Wooden Horse (1950) and another in 1944, immortalized in the 1963 film The Great Escape (1963) starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, and James Coburn. Unlike the film, the real-life ""Great Escape"" did not involve Hollywood stars or props, but rather was an extremely sophisticated attempt to mount a mass escape of 200 or more prisoners via a tunnel dug from inside one of the barracks to the woods outside the perimeter of the camp. Tunneling was particularly difficult at Stalag Luft III, as the Germans had established the P.O.W. camp specifically in order to prevent the practice. The barracks stood on raised platforms so any tunnel started within could be easily detected. Complicating matters further, the sub-surface soil was sandy and bright yellow which contrasted sharply with the drab, gray surface soil, thus rendering it difficult to mask tunneling projects as the excess soil would stand out when dumped on the surface. The prisoners employed a wide range of subtle ruses to dispose of the soil without tipping off the guards. The sandy sub-soil was also prone to collapse, further hindering tunneling operations. The plot, conceived by R.A.F. Squadron Leader Roger Bushell, played by Attenborough in the 1963 film, in the Spring of 1943, involved the construction of several tunnels simultaneously so that if one was discovered, the others would hopefully remain secret. The strategy proved successful. When one of the long tunnels was uncovered, the guards stopped their search as they could not imagine that two others were still under construction. The tunnel that ultimately proved successful was nicknamed ""Harry."" The entrance was hidden beneath the tiles of stove housed in one corner of a barrack and the 102 meter tunnel ran beneath two barbed wire fences and was to emerge in the trees just beyond the outer perimeter. Although over 600 prisoners worked on the tunnels only 200 were slated to use it for their escape. On the night of March 24, 1944, the prisoners began their escape. Much to their dismay, as they emerged on the other side, they realized that the tunnel entrance was short of the tree line. Amazingly, 76 men escaped through the tunnel before guards spotted what was going on. As the 77th man surrendered to the guards, the others bolted into the woods. Of the 76 that escaped, 73 were recaptured?"half of which were executed by the SS. "

      [Bookseller: University Archives]
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        Front-Illustrierte. No. 15-16

      1943. RUSSIA. Front-Illustrierte. Für den Deutschen Soldaten. No. 15-16 (59-60). 4 leaves. Folio, 293 x 217 mm. June, 1943. |~||~||~||~| A double issue of this extremely scarce Soviet propaganda pamphlet. Front-Illustrierte was published in an attempt to persuade German troops to surrender on the Eastern Front. Most issues contrasted the prospect of continual misery and certain death on the front with the salvation offered to surrendered soldiers by Russian captors. This issue is illustrated with numerous photographs of happy prisoners eating, playing chess, and working in sunny fields and foundries. A fine copy.

      [Bookseller: Ursus Rare Books]
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        Bêtes de la brousse

      1943. relié. DeCollection. Editions du Moulin de Pen-Mur, Paris, 1943. In/4 plein maroquin vert sous étui, dos à nerfs, titre doré, 15 illustrations hors texte en couleur de André Collot, 236 p. Exemplaire numéroté sur vélin filigrané des papeteries de Lana sans la suite en noir des bois. Biblio : cité par Monod 7724.

      [Bookseller: Librairie]
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        ça va EDITION ORIGINALE ENVOI AUTOGRAPHE

      Cahors: Comité national des écrivains & Centre des intellectuels, 1943. Fine. Comité national des écrivains & Centre des intellectuels, Cahors 1943, 11x13,5cm, agrafé. - Original edition on the current paper. Precious autograph signed by the author Raymond Queneau: "... with all the sympathy .." Marginal tiny tears on flat minor. - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant. Précieux envoi autographe signé de Tristan Tzara à Raymond Queneau : "... avec toute la grande sympathie.." Infimes déchirures marginales sans gravité sur les plats.  

      [Bookseller: Librairie Le Feu Follet]
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        TUCKER'S PEOPLE

      New York: L.B. Fischer, 1943. First Edition. First Printing. Octavo; rust-colored cloth, with titles and leaf decorations stamped in ivory on spine and front cover; dustjacket; 496pp, [4]. Fine in a Fine second issue pictorial dustjacket, unclipped (priced $1.49), with a tiny rubbed spot along front joint. A novel Walter Rideout credits as "one of the most distinguished American novels of the whole forties," and basis for the sinister 1948 film noir directed by Abraham Polonsky. A key film noir source title, and one that is seldom found in collector's condition. The Dark Page, Vol.1, p.326-327.

      [Bookseller: Captain Ahab's Rare Books]
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        Le baron d'Holbach Manuscrit autographe et tapuscrit complets EDITION ORIGINALE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 4 pages in-4, 4 1/2 pages in-8. - Autograph manuscript of the author of four and a half pages 4to published in the issue dated 27-28 November 1943 in the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Chronic literary published on the occasion of the publication of Paul Thiry d'Holbach and scientific philosophy in the eighteenth century by Pierre Naville. Typescript is complete seal. Much more than a book review of Pierre Naville on the Baron d'Holbach, this long article Blanchot is a real philosophical pamphlet against materialist thought Encyclopédistes accused of wanting to "know the world to take it. This is a significant expression of the bourgeois mind. (...) Man can rule the world if the world is a collection of objects. " But through this scathing critique of the thought of the eighteenth century, Blanchot refers to a more modern evil: "Making something that man can study (...) it is sure that we can use him as one thing and use it as a thing. All social contradictions of liberalism are already in that statement. And the starting point is the Encyclopedia. " Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of the Journal of Debates 173 articles on new books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that he would later develop Many in these essays, "La Part du feu" to "The Infinite Conversation" and "The Scripture of the disaster." From the very first articles, Blanchot demonstrated analytical acuity far beyond current literature that motivates writing. Oscillating between classic and modern, first-class writers and minor novelists, he puts in his columns, the foundations of critical thinking that will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," the violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are two acts from which culture entered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers NRF together under the direction of Christopher Bident all literary chronicles not yet published in volume with the proper analysis of the critical work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer of his own rhetoric, delivered more to the echo of the impossible or the lure of the disappearance. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 4 pages et demie in-4 publié dans le numéro du 27-28 Novembre 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Chronique littéraire publiée à l'occasion de la parution de Paul Thiry d'Holbach et la philosophie scientifique au XVIIIe siècle de Pierre Naville. On joint le tapuscrit complet. Bien plus qu'une critique de l'ouvrage de Pierre Naville sur le Baron d'Holbach, ce long article de Blanchot est un véritable pamphlet philosophique contre la pensée matérialiste des Encyclopédistes accusés de vouloir « connaitre le monde pour s'en emparer. C'est là une expression notable de l'esprit bourgeois. (...) L'homme ne peut dominer le monde que si le monde est une collection d'objet. » Mais à travers cette critique virulente de la pensée du XVIIIe siècle, Blanchot désigne un mal plus moderne : « Faire de l'homme une chose qu'on peut étudier (...) c'est assurer qu'on peut se servir de lui comme d'une chose et l'exploiter comme une chose. Toutes les contradictions sociales du libéralisme sont déjà dans cette affirmation. Et le point de départ en est l'Encyclopédie. » Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        Originalteckning, krita.

      1943. 33 x 26 cm. Försedd med passepartout och fint inramad i sin ursprungliga ram. Bilden är monterad på ramens bakstycke. Med dedikation under bilden: "Till Björn von Rosen från tillgivne Harry Martinson, Uttran 1943.". Ramen mäter 52 x 44 cm. Den färgglada teckningen föreställer ett blommande stånd maskros. Harry Martinson och Björn von Rosen var goda vänner. Bland annat gav de tillsammans ut boken "Bestiarium" 1964. Martinson, hans hustru Ingrid och deras barn kom från 1950-talet att bo granne med familjen von Rosen i Gnestatrakten i Södermanland. Denna teckning kom att utgöra omslagsvinjett till tidskriften "Maskulinum" nummer 4, 1943. Björn von Rosen var redaktör för jaktavdelningen i tidskriften och skrev många artiklar där

      [Bookseller: Mats Rehnström]
 13.   Check availability:     Antikvariat     Link/Print  


        The Song of Bernadette (Original screenplay for the 1943 film)

      Los Angeles: Twentieth Century-Fox, 1943. Revised Final Draft script for the 1943 film. Winner of four Academy Awards (including Best Actress and Best Cinematography) and nominated for another eight (including Best Picture, Best Screenplay, and Best Director). In 1858 France, Bernadette (Jennifer Jones), an adolescent peasant girl, has a vision of "a beautiful lady" in the city dump. She never claims it to be anything other than this, but the townspeople all assume it to be the virgin Mary. The pompous government officials think she is nuts, and do their best to suppress the girl and her followers, and the church wants nothing to do with the whole matter. But as Bernadette attracts wider and wider attention, the phenomenon overtakes everyone in the the town, and transforms their lives. Red studio wrappers, noted as Revised Final on the front wrapper, rubber-stamped copy No. 108 and production No. 827, dated March 8, 1943. Distribution page present, with receipt removed. Title page present, dated March 8, 1943, noted as Revised Final, with credit for screenwriter Seaton. 263 leaves, mimeograph, with blue, green, and pale green revision pages throughout, dated variously between 3-29-43 and 9-1-43. Pages Near Fine, wrapper Near Fine, internally bound with two gold brads.

      [Bookseller: Royal Books, Inc.]
 14.   Check availability:     Biblio     Link/Print  


        Prager Jahrbuch 1943

      Amsterdam / Berlin / Wien, Volk und Reich Verlag Prag, 1943.. . Vollständige Ausgabe im Original-Verlagseinband (Pappband / Festeinband im Format 22 x 26,5 cm) mit Rücken- und illustriertem Deckeltitel, Einbandgestaltung: Johannes Boehland. 252 Seiten, mit vielen - teilweise farbigen - Fotoabbildungen auf Kunstdruckpapier (u.a.: Temperazeichnung von Fritzi Mally: Hochzeitstracht aus der mährischen Sprachinsel Wischau). - Aus dem Inhalt: Franz Höller, Soldatenspruch - Erbe und Aufgabe (Primator-Stellvertreter Universitätsprofessor Dr. Josef Pfitzner: Prag im Jahr 1942 / Die Gedenkrede des Reichsführers SS Heinrich Himmler beim Staatsakt für Reinhard Heydrich in Berlin / Staatssekretär SS-Gruppenführer Karl Hermann Frank: Der Endkampf 1918-1938 / Staatssekretär SS-Gruppenführer Karl Hermann Frank: Reinhard Heydrichs Vermächtnis für Böhmen und Mähren / Reinhard Heydrich (Totenmaske, abgenommen von Franz Rotter) / Bilder aus dem politischen Leben in Prag (zumeist betr. Reinhard Heydrich; Fotos mit Bildunterschriften wie z.B.: "19. Jänner 1942: der Stellvertretende Reichsprotektor SS-Obergruppenführer Heydrich im Gespräch mit dem Vorsitzenden der neugebildeten Protektoratsregierung Minister Dr.Krejci" / "28.Feber 1942: SS-Gruppenführer Staatssekretär Karl Hermann Frank besichtigt in der Prager Ausstellung "Sowjetparadies" einen bolschewistischen Riesentank") / Universitätsprofessor Dr. Wilhelm Wostry: Kaiser Rudolf II., der Sonderling in der Prager Burg / Marianne Wünsch: Die Niederländer am Hofe Rudolphs II. / Traute Swoboda: Alchimisten und Paracelsisten in Prag / Trude Mechelke: Johannes Kepler als Pansoph und religiöser Denker / Eva Sybille Busch: Die literarischen Leistungen der Dichterkomponisten im Kreise Rudolf II. / Edelgard von Kamptz: Theobald Höck, ein Prager Dichter des Frühbarock / Herta Hajny: Melchior Goldast und sein Prager Tagebuch / Maria Weiß: Niklas Uhlenhart, ein Darsteller des Alt-Prager Volkslebens / Raissa Schkelenko: Die neulateinische Dichtung am Hofe Rudolphs II. / Irmgard Patzak: Eine Prager Dichterin im Zeitalter Rudolphs II.) - Stimme des Krieges - Geliebtes Prag - Prager Berichte - Unsere Bilder - Nachwort des Herausgebers. - Mit Wiedergaben von Werken von Johannes Boehland, Adolf Häring u.a. zeitgenössischen Künstlern. - Mit zeittypischen Ausführungen wie z.B.: " . . . ließ Heydrich von der erste Stunde seiner Wirksamkeit in Prag keinen Zweifel darüber aufkommen, daß er gewillt sei, im Namen des Führers und des Großdeutschen Reiches den in bestimmten Schichten des tschechischen Volkes sichtbar werdenden politischen Quertreibereien und Zersetzungserscheinungen trotz aller Tarnungsversuche mit einem Schlage ein Ende zu bereiten. All die Maßnahmen, die zur Beseitigung der offenen oder geheimen Gegner der bestehenden Ordnung notwendig wurden, . . . wirkten sich auch noch 1942 schicksalhaft aus. Heydrich scheute vor harten Zugriffen namentlich in den führenden tschechischen Gesellschaftskreisen nicht zurück, in denen sich noch immer Vertreter des vergangenen Systems finanziell einträgliche und politisch einflussreiche Pfründen zu sichern gewusst hatten und die gar nicht daran dachten, unter dem Eindruck der weltgeschichtlichen Vorgänge sich zu gesünderen politischen Einsichten zu bequemen. Sollten die Glieder gesunden, dann musste die Erneuerungsarbeit am Kopf beginnen . . . Damit waren die Voraussetzungen für eine großzügige Vorsorge Heydrichs gegenüber Arbeitern und Bauern gegeben, die im Verlaufe der Frühjahrsmonate ins Werk gesetzt wurde. Zusätzliche Lebensmittel- und Schuhzuteilungen sowie Erholungsmöglichkeiten in den besten Kurorten des Sudetenlandraumes für die Rüstungsarbeiter waren der sichtbare Ausdruck dieses Dankgefühls. Aber auch auf anderen Gebieten wirkte sich Heydrichs Initiativkraft höchst segensreich aus. Dank seines engen persönlichen Verhältnisses zu allen Bereichen der Kunst erfreuten sich vor allem die deutschen Kulturstätten Prags seiner nachdrücklichen Förderung. So wurde das Rudolfinum nach jahrzehntelanger Entfremdung wieder seiner ursprünglichen Bestimmung als Stätte deutscher Musikpflege zurückgegeben. In der Deutschen Musikgesellschaft wurden planmäßig alle um die deutsche Musikkultur in Prag bemühten Kreise zusammengefasst . . . Mitten in dieses reiche Schaffen fiel der 27. Mai als schwarzer Tag in der Geschichte Prags und des ganzen Sudetenraumes. Feige Mörderhand hatte an das junge, heldenhafte Leben Heydrichs gegriffen, und am 4. Juni hatte ein großes tapferes Herz für Großdeutschland und seinen Führer auf Prager Boden zu schlagen aufgehört. Heydrich wuchs damit zum Kronzeugen für eine geschichtliche Kraft empor, die seit mehr als einem Jahrtausend das politische Schicksal des Lebensraumes nachdrücklich bestimmt hatte und in der Gegenwart sichtbarste erfolgte zeitigte. Auf dem Boden Prags aber war damit eine politische Untat geschehen, die in der tausendjährigen Geschichte der Stadt einmalig dasteht" - "Mit dem Tode des SS-Obergruppenführers REINHARD HEYDRICH, Stellvertretenden Reichsprotektors in Böhmen und Mähren und Chef des SD und Sicherheitspolizei, hat die nationalsozialistische Bewegung abermals einen opfervollen Beitrag zum Freiheitskampf unseres Volkes gegeben. So unfassbar für uns der Gedanke war, daß dieser strahlende, große Mensch nach kaum vollendetem 38.Lebensjahr nicht mehr unter uns weilen und in seiner Freunde Mitte kämpfen sollte, so unersetzbar sein einmaliges Können, verbunden mit einem Charakter von seltener Reinheit und einem Verstand von durchdringender Logik und Klarheit ist, so würden wir nicht in seinem Sinne handeln, wenn wir nicht hier an seinem Sarge die heldischen Gedanken vom Stirb und Werde, die einstmals unser Volk beim Tode ihrer Liebsten bewegt haben, wieder zu unseren eigenen machen würden . . . Die Jahre 1933-36 waren erfüllt von vieler Arbeit und zahllosen Anfangsschwierigkeiten, tatenfrohem unbekümmerten Zupacken im Ausland gegenüber Emigranten und Landesverrätern, harter schmerzvolle Pflichterfüllung im Inneren . . . Ich darf hier auch einmal vor aller Öffentlichkeit die Gedanken dieses von den Untermenschen gefürchteten, von . . . . und sonstigen Verbrechen gehassten und verleumdeten und auch einst von manchem Deutschen nicht verstandenen Mannes darlegen. Alle Maßnahmen und Handlungen, die er traf, packte er als Nationalsozialist und SS-Mann an. Aus den tiefen Gründen seines Herzens und seines Blutes heraus hat er die Weltanschauung Adolf Hitlers erfüllt, verstanden und verwirklicht. Am 27. Mai aber traf ihn die hinterhältige Bombe englischer Herkunft, geworfen von einem bezahlten Subjekt aus den Reihen wertlosesten Untermenschentums, und brachte ihn zur Strecke". (Reichsführer SS Himmler) - Neben der Fotoabbildung mit der Totenmaske von Reinhard Heydrich abgedruckt das Gedicht "Klage" von Wilfried Bade: "So gingst du hin: und keiner, der richtig kannte, / ist nicht voll Trauer und voll Zorn. / Wie hell in dir das lichte Feuer brannte! / Wie sprang aus dir der ungehemmte Born / des freud'gen Dienstes an dem großen Werke! / Nichts gab es, was dir je zu schwer gewesen, / und nichts, was dir in deines Herzens Stärke / allzu gefahrvoll. Denn dein ganzes Wesen / war Tat nur und nicht Selbstbewahren, / war Dienst und Glaube, und kein Schwanken / kam je dich an. Die um dich waren, / du wiesest sie aus ihren engen Schranken, / daß sie wie du am Reiche gläubig bauten / und ihres Lebens achteten gering. / So wardst du es schon inne, was wir schauten, / als Wirklichkeit von dir geschaffen Ding. / Ach, daß du fallen musstest unter Mörderhänden! / Der Tod, er hätte dir in offener Schlacht gebührt. / So solltest du, so dein Geschick nicht enden! / D u hast den Kampf stets ritterlich geführt." - Kriegsdruck, Erstausgabe, EA, erste Auflage in sehr guter Erhaltung: der - wie immer angeplatzte - Rücken fachmännisch-dezent mit schwarzen Büttenpapier kaschiert, sonst gut tadellos

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


        Beyond the Wall of Sleep

      Arkham House, Sauk City, Wisconsin 1943 - The first printing of this remarkable collection of Lovecraft tales, one of 1,200 copies published in 1943 by Arkham House. Collected by August Derleth and Donald Wandrei. A near fine copy of the book with a tiny bump to the upper fore corner. Dust jacket near fine with some wear to the edges of the black panel and spine and a bit of toning to the rear cream colored panel. Small chip to upper edge of rear jacket panl abutting the upper spine. An extremely attractive copy of one of the foundational volumes to any collection of supernatural or horror fiction. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Reluctant Bookseller]
 16.   Check availability:     AbeBooks     Link/Print  


        Poster: "You Are Needed Now - Join the Army Nurse Corps. Apply at your Red Cross Recruiting Station"

      U.S. Army], [N.p. 1943 - Superb photographic recruiting poster, issued by the U.S. Army to solicit recruits for the Army Nurse Corps. Prominently features a photograph of a woman in Army uniform, beneath the heading "You Are Needed Now." Designed by Ruzzie Green, one of the best-known commercial photographers of his day who was the former art director for the Stehel Silk Corporation and Harpers Bazaar magazine. Original photo-illustrated poster, lithographed in colors and measuring 52.5cm x 78.5cm (20.75" x 31"). Professionally linen-backed, with old fold lines faintly visible; Fine.

      [Bookseller: Lorne Bair Rare Books, ABAA]
 17.   Check availability:     AbeBooks     Link/Print  


        LITTLE PRINCE

      SAINT-EXUPERY, ANTOINE DE. SAINT-EXUPERY,ANTOINE DE. THE LITTLE PRINCE. NY: Reynal & Hitchcock (1943). 8vo (7 3/8 x 9"), cloth, [93]p., FINE IN DUST WRAPPER with limitation number inked on spine that matches limitation number of book, housed in custom cloth box. 1st ed. (published in America first due to Nazi occupation of France). LIMITED TO 525 COPIES SIGNED BY SAINT-EXUPERY! Illustrated in color by the author. The Little Prince was Saint-Exupery's last book published before he disappeared in a flight over the Mediterranean. The limited edition of this beloved classic is rare and this is an exceptional copy with no chipping at all on the dust wrapper.

      [Bookseller: Aleph-Bet Books, Inc.]
 18.   Check availability:     Biblio     Link/Print  


        Carmen ENVOI AUTOGRAPHE

      Paris: Le Vasseur et Cie, 1943. Fine. Le Vasseur et Cie, Paris 1943, 23,3x28,7cm, en feuilles sous chemise et étui. - Edition adorned with artwork of Jean Traynier, led to 425 copies, ours, one of 325 numbered on Arches paper wove unnumbered, includes proof manuscript illustrator: "Exemplary artist booked for ... with Mr. the sympathy of the illustrator. " It is also enriched with a dedication page autograph Jean Traynier and 20 original watercolors by the artist in the margin. Back of the shirt slightly past. Beautiful illustrated adaptation of etchings of Jean Traynier beautifully hand colored watercolor artist. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition ornée d'illustration de Jean Traynier, tirée à 425 exemplaire, le nôtre, un des 325 numérotés sur vélin d'Arches non numéroté, comprend un justificatif manuscrit de l'illustrateur : "Exemplaire d'artiste réservé pour Monsieur ... avec la sympathie de l'illustrateur." Il est également enrichi d'une page de dédicace autographe de Jean Traynier et de 20 aquarelles originales de l'artiste en marge du texte.  Dos de la chemise légèrement passé.  Belle adaptation illustrée des eaux-fortes de Jean Traynier, superbement réhaussée d'aquarelles de l'artiste. 

      [Bookseller: Librairie Le Feu Follet]
 19.   Check availability:     Biblio     Link/Print  


        HOW EDITH MCGILLCUDDY MET R.L.S.

      1943 - STEINBECK, John. HOW EDITH MCGILLCUDDY MET R.L.S. Cleveland, Ohio: The Rowfant Club, 1943. Quarto (about 11.5 by 8.5 inches), black & patterned cloth with leather title labels on front cover & spine, in original turquoise-colored dust jacket; housed in a specially-made slipcase. Limited Edition of 152 numbered copies, of which this #142. [Goldstone & Payne A20a]. Privately printed for members of The Rowfant Club. A very nice copy! Near fine condition (very minor edgewear; contents clean and tight); some fading edges (spine more heavily faded; few short tears & a few very tiny chips) d/j. "142" in crayon on the front cover of the d/j- issued thus. Copies of this title are around but copies in nice, original dust jackets are not. I believe I purchased this copy for a customer of mine from the famous Bradford Morrow John Steinbeck collection offered for sale in 1980. $4,500.00. [Attributes: Hard Cover]

      [Bookseller: Antic Hay Books]
 20.   Check availability:     AbeBooks     Link/Print  


        Les mouches EDITION ORIGINALE Tirage de tête

      Paris: Gallimard, 1943. Fine. Gallimard, Paris 1943, 12x19cm, relié sous chemise et étui. - First edition, one of 18 numbered copies on "pur-fil" paper, leading copies. Bound in full morocco jansenist red back with five nerves, golden tail date contreplats guards and black morocco, covers and spine preserved, all edges gilt; shirt half red morocco, spine with five nerves, when golden tail, black felt inside; lined red morocco case, within ocher felt very elegant set beautifully prepared by Duhayon. Superb copy fully established in a binder of Duhayon tripled. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 18 exemplaires numérotés sur pur fil, tirage de tête. Reliure en plein maroquin janséniste rouge, dos à cinq nerfs, date dorée en queue, gardes et contreplats de maroquin noir, couvertures et dos conservés, toutes tranches dorées; chemise en demi maroquin rouge, dos à cinq nerfs, date dorée en queue, intérieur de feutrine noire; étui bordé de maroquin rouge, intérieur de feutrine ocre, très élégant ensemble magnifiquement établi par Duhayon. Superbe exemplaire parfaitement établi dans une reliure triplée de Duhayon.

      [Bookseller: Librairie Le Feu Follet]
 21.   Check availability:     Biblio     Link/Print  


        Romancières d'aujourd'hui Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 3 1/2 pages in-4, 4 1/2 pages in-8. - Autograph manuscript of the author of four and a half pages 8vo published in the issue dated 25 August 1943 of the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Literary chronicle about, among other novels Elsa Triolet, Germaine Beaumont and the young Marguerite Duras. Typescript is complete seal. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" made its first steps in the field of literary criticism and inaugurates a theoretical work that would later develop Many in these trials, "La Part du feu" to "The Infinite Conversation" and "The Writing of the Disaster." From the very first articles, Blanchot demonstrated analytical acuity far beyond current literature that motivates writing. Oscillating between classic and modern, first-class writers and minor novelists, he puts in his columns, the foundations of critical thinking that will mark the second half of the twentieth century. Transformed by writing and by war breaks Blanchot, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism in philosophical act of intellectual resistance to barbarism at the heart of "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer of his own rhetoric, delivered more to the echo of the impossible or the lure of disappearing. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal a critical genealogy that has transformed the opportunity to chronicle the necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 4 pages et demie in-8 publiée dans le numéro du 25 Août 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Chronique littéraire à propos, entre autre, des romans d'Elsa Triolet, Germaine Beaumont et de la jeune Marguerite Duras. On joint le tapuscrit complet. "Y a-t-il un art féminin du roman?" se demande Maurice Blanchot en tête de cet étrange article qui révèle surtout à travers ces cinq romans de femmes marquées par la guerre une écriture aux antipodes des lieux communs de la féminité : "ces romans sont souvent écrits sans grâce. On serait même tenté de croire qu'ils sont volontairement négligés, tant la forme y paraît dédaigneuse de tout". Il ne s'agit pas là d'une critique esthétique, mais de la constatation d'une âpreté inédite et intrigante, à l'instar du style du premier roman de Marguerite Duras que Blanchot, dans sa clairvoyance coutumière, décrit avec concision : "Sa chance est d'être sec, étroit, borné, et cette mauvaise humeur convient à merveille à un sujet qui ne supporte ni pathétique ni grâce." Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
 22.   Check availability:     Biblio     Link/Print  


        Air Scouts / Boy Scouts / Eagle Scouts -- Manuscript "Log" of Activities

      England, 1943-44. Hardcover. Near Fine. Cloth-covered boards (7.75 by 10 inches), leather backing, all edges marbled; approx. 200 lined pages, about 40 of which are full of handwritten notes, drawings, and b/w photographs; with additional laid-in material. Spine tips and corners gently bumped, else fine. It would seem that this volume is a group effort to record the beginning of the "9th Burton Scouts," or the Air Scout Patrol, formed at Carlton St. Chapel in July 1943. The bulk of the text is provided by Les Pittaway (the patrol's assistant leader), with drawings by, perhaps, Bob Chadwick (one of the scouts); and other members of the troop contribute an entry (usually, laid-in) or simply sign their name. The first page is headed "Air Scouts of the 9th," and bears 9 signatures, including Tom Morecroft (the leader), Gordon Graham (a scout), Fred Cotton (their scribe, at one point labeled a "nit wit"), and Gordon Henchcliff -- names that appear again and again, sometimes with an epithet (one or both of the Gordons gets a little needling, and a "nit wit" label). All the hallmarks of scouting are recorded, including camping and cycling, a (mis)adventure building a zipline, a hike through Thurvaston and Thorpe, and scaling Thorpe Cloud (a limestone bill between Thorpe and Ilam at the south end of Dovedale). Additionally, on 20 May 1944, the Boy Scouts Association organized a job day, wherein Scouts and Cubs raised money to send "trained scout members, men and women" to serve with the relief forces abroad, "a venture of succour to the starved and stricken victims of the war." All of this is accompanied by nicely accomplished illustrations -- little vignettes in text, landscapes, and decorative borders -- and b/w photographs, usually labelled by hand with the scouts' names. Includes a laid-in 6.5-by-8.5-inch b/w group portrait; and 10 smaller photographs (about 2.25-by-3 inches) affixed with corner mounts to appear in the text itself, nicely illustrating the story being related.

      [Bookseller: Sanctuary Books]
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        The Little Prince

      New York@ Harcourt, Brace & World,, [c.1943]. Octavo (216 x 175 mm). Finely bound by Sangorski and Sutcliffe in blue morocco, titles and decoration to spine gilt, raised bands, single rule to boards gilt, twin rule to turn-ins, decorative endpapers, gilt edges. Spine a touch faded otherwise an excellent copy. Published in the same year as the first edition. A handsomely bound copy of this much loved children's classic.

      [Bookseller: Peter Harrington]
 24.   Check availability:     Biblio     Link/Print  


        Le mythe d'Oreste Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 4 pages in-4, 4 1/2 pages in-8. - Autograph manuscript of the author of four and a half pages in-8 published in the issue dated 27 July 1943 of the Journal of Debates and resumed the same year in Faux-Pas. Complete manuscript writing very dense, with many erasures, corrections and additions. Important literary chronicle of the work of Jean-Paul Sartre and especially his last piece of theater: Flies. Full typescript is attached. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer his own rhetoric, delivered more to echo the impossible or the lure of extinction. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 4 pages et demie in-8 publiée dans le numéro du 27 Juillet 1943 du Journal des Débats et repris la même année dans Faux-Pas. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Importante chronique littéraire de l'oeuvre de Jean-Paul Sartre et plus particulièrement de sa dernière pièce de théatre: Les mouches. On joint le tapuscrit complet. Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        Le mythe d'Oreste. Manuscrit autographe et tapuscrit complets

      S.n. (Journal des débats) 1943 - - S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 4 pages in-4, 4 1/2 pages in-8. - Manuscrit autographe de l'auteur de 4 pages et demie in-8 publiée dans le numéro du 27 Juillet 1943 du Journal des Débats et repris la même année dans Faux-Pas. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Importante chronique littéraire de l'oeuvre de Jean-Paul Sartre et plus particulièrement de sa dernière pièce de théatre: Les mouches. On joint le tapuscrit complet. Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (.) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (.) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Autograph manuscript of the author of four and a half pages in-8 published in the issue dated 27 July 1943 of the Journal of Debates and resumed the same year in Faux-Pas. Complete manuscript writing very dense, with many erasures, corrections and additions. Important literary chronicle of the work of Jean-Paul Sartre and especially his last piece of theater: Flies. Full typescript is attached. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Trophy Taking": Photographic album of US in the Pacific theater, World War II.

      1943 - Photographic album of commercial photographs produced for World War II troops, with grisly images of Japanese dead in the Pacific theater, examples of the phenomenon known as "trophy taking". This was officially prohibited by the US military, but continued in spite of this throughout the war. In September of 1942, the Commander in Chief of the Pacific Fleet went as far as to order that "No part of the enemy's body may be used as a souvenir", and any American servicemen violating that principle would face "stern disciplinary action".The first images in the album include semi-erotic photographs of tribal women of New Caledonian and Western Samoa. There are also children and tribal members. This section includes a pamphlet, "All You Want to Know About New Caledonia", by Sidney Reichenbach, laid down (24pp). There are also 3 non combat photos of Fiji.The photographs then transition to views of island bombings, American soldiers in combat, soldiers building a pontoon bridge, and war dead. The "trophy taking" images include: two skulls on the front hood of a Jeep; a Jeep hood with skull and cross bones; a hand lettered sign, "Merry X Mas Tojo" shows two skulls adorned to appear Santa like; and skull stewing.There are also pages of canceled Fijian, New Zealand and Egyptian stamps. The last 4 pages of the album with New Zealand wine bottle label, New Zealand beer labels, and 2pp color photographs of US Army and Navy medals, laid down.A total of 37 non combat photographs at the beginning of the album; followed by 28 war photographs; 3 Fiji non combat photographs; 16 combat photographs. Photographs measure approx. 4x3". Dark green cloth album bound with black cord. The album label, "Rewa Album, Kodak, New Zealand, Ltd" inside back cover. Album measures 11 x 7 1/2". [Attributes: Hard Cover]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        Romans Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 4 pages in-4, 4 pages in-8. - Autograph manuscript of the author of 4 pages 8vo published in the issue dated 14 April 1943 of the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Literary review published on the occasion of the publication of Albin Michel Body and Soul Maxence Van Der Meersch. Full typescript is attached. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer his own rhetoric, delivered more to echo the impossible or the lure of extinction. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 4 pages in-8 publiée dans le numéro du 14 Avril 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Chronique littéraire publiée à l'occasion de la parution de Corps et âmes de Maxence Van der Meersch, de Nuages dans la main d'Alice Rivaz, du Village pathétique d'Anré Dhotel et du Coeur anachronique de Dominique Brejon Lavergne. On joint le tapuscrit complet. D'une actualité littéraire hétéroclite et plus ou moins heureuse, Blanchot fait émerger une pensée sur l'écriture et le réel. Sa chronique s'élève de la critique d'un réel qui échoue à devenir littérature (Van der Meersch) vers l'apologie de personnages littéraires qui se heurtent au monde réel (Dhotel), pour évoquer enfin l'excès d'une littérature qui se perd dans ses propre limbes (Brejon Lavergne). Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        RECOPILACION DE LEYES DE LOS REYNOS DE LAS INDIAS - Obra Completa (3 Tomos)

      Consejo de la Hispanidad 1943 - 26 x 18 cm. Piel con grabados. Cortes dorados. Reimpresión de la obra publicada en 1791 por la Viuda de D. Joaquín Ibarra - Mandada imprimir y publicar por el Rey Carlos II. Obra dividida en 3 tomos. Tomo I. 660 pp. (Ej. numerado-1454). Tomo II. 613 pp. ( [Attributes: First Edition]

      [Bookseller: Librería Miguel Blázquez]
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        An iconic WW II relic: Slabs of tile used for the base of a barracks stove which were used to hide a secret escape tunnel, recovered from the site of the German P.O.W. camp, Stalag Luft III ? site of "The Great Escape."

      [Zagen, Poland], c. 1943-1944. 10" x 8" x 2.5" & 4.5" x 4.25" x 4". "A marvelous set of relics dug from the site of Stalag Luft III, in Zagen, Poland, a pair of large tiles, 10"" x 9"" backed by concrete together with a 5"" x 5"" x 4"" corner piece constructed of steel with a large piece of the original concrete, all of which were used as a base of a heating stove in one of the P.O.W. barracks. Most of the tunnels dug during ""The Great Escape"" were hidden beneath these stove tiles.The tiles bear some light wear consistent with exposure to the elements. From the collection of ""Great Escape"" relics assembled by the founder of ""The War Museum"" and will come with a special certificate for each item. As a collector and curator for over 50 years, these items were largely obtained from former Allied prisoners of war as well as local farmers and townspeople in the town of Zagen, Poland (formerly Sagen, Germany). The camp is seven square miles in total and is covered in pine forests. In the last weeks of the war as the Russians reached the camp, the German guards hurriedly buried their equipment, changed into civilian clothes and fled. The Allied POW?s were sent on a forced march in the snow southward to Nurnberg, then to another camp at Moosburg where they were liberated on April 29, 1945. At Zagan there are still various compounds and many areas of derelict buildings and footings. In the 1950?s and ?60?s the local townsfolk and farmers explored and excavated relics from the areas which were only accessible with a four wheel drive vehicle in the more remote parts, having various maps and a compass and even then it was easy to get lost. Such relic hunting has not been permitted over the last several decades, making these early recoveries prized and sought after pieces of history. The camp is virtually inaccessible by foot apart from an area near to the Zagan POW Museum. Most of the relic floor & roof tiles, floor boards, drain pipe pieces, electrical insulators from the high-voltage fences, barbed wire, etc. all have their identical counterparts in the Zagan POW Museum.The P.O.W. camp at Sagen was known as Stalag Luft III, and was managed by the Luftwaffe to house Allied airmen downed over Germany. The Germans established the camp, located in Lower Silesia, in March 1942 and the camp remained in service until January 1945. It was the scene of two famous escape plots, both involving tunneling: one in 1943, which was depicted in the film The Wooden Horse (1950) and another in 1944, immortalized in the 1963 film The Great Escape (1963) starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, and James Coburn. Unlike the film, the real-life ""Great Escape"" did not involve Hollywood stars or props, but rather was an extremely sophisticated attempt to mount a mass escape of 200 or more prisoners via a tunnel dug from inside one of the barracks to the woods outside the perimeter of the camp. Tunneling was particularly difficult at Stalag Luft III, as the Germans had established the P.O.W. camp specifically in order to prevent the practice. The barracks stood on raised platforms so any tunnel started within could be easily detected. Complicating matters further, the sub-surface soil was sandy and bright yellow which contrasted sharply with the drab, gray surface soil, thus rendering it difficult to mask tunneling projects as the excess soil would stand out when dumped on the surface. The prisoners employed a wide range of subtle ruses to dispose of the soil without tipping off the guards. The sandy sub-soil was also prone to collapse, further hindering tunneling operations. The plot, conceived by R.A.F. Squadron Leader Roger Bushell, played by Attenborough in the 1963 film, in the Spring of 1943, involved the construction of several tunnels simultaneously so that if one was discovered, the others would hopefully remain secret. The strategy proved successful. When one of the long tunnels was uncovered, the guards stopped their search as they could not imagine that two others were still under construction. The tunnel that ultimately proved successful was nicknamed ""Harry."" The entrance was hidden beneath the tiles of stove housed in one corner of a barrack and the 102 meter tunnel ran beneath two barbed wire fences and was to emerge in the trees just beyond the outer perimeter. Although over 600 prisoners worked on the tunnels only 200 were slated to use it for their escape.On the night of March 24, 1944, the prisoners began their escape. Much to their dismay, as they emerged on the other side, they realized that the tunnel entrance was short of the tree line. Amazingly, 76 men escaped through the tunnel before guards spotted what was going on. As the 77th man surrendered to the guards, the others bolted into the woods. Of the 76 that escaped, 73 were recaptured?"half of which were executed by the SS."

      [Bookseller: University Archives]
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        Le roman du regard Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 3 1/2 pages in-4, 4 1/2 pages in-8. - Autograph manuscript of the author of four and a half pages 8vo published in the issue dated 18-19 December 1943 in the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Chronic literary published on the occasion of the publication of "The Guest" by Simone de Beauvoir. Typescript is complete seal. Important analysis of the first novel by Simone de Beauvoir. As usual, Blanchot sweeps the narrative of the novel contingency to extract the essence "phenomenological". It outlines the philosophical correspondence between the work of Beauvoir and Sartre. Following Nausea and Flies, Blanchot sees to Stay "an illustration of the analyzes Jean-Paul Sartre devoted to our" living for others "and that illuminate, a beautifully clear, one of most knotted darkest of human reality. "dramas Ignoring the autobiographical "threesomes" the novel that keeps most critics, Blanchot reveals the true subversion of the invitation: "Can we get rid of others Perhaps, if by action that we claim entirely, we manage to be conscious of our freedom. " A thinly veiled reference to the news of the day which is reflected in the interpretation of murdering Xaviere: "The slave does not become the master, because it kills the master, but because the killing, he risks what he was previously a slave, his life, his quiet, easy harmony with the world. " Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of the Journal of Debates 173 articles on new books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that he would later develop Many in these essays, "La Part du feu" to "The Infinite Conversation" and "The Scripture of the disaster." From the very first articles, Blanchot demonstrated analytical acuity far beyond current literature that motivates writing. Oscillating between classic and modern, first-class writers and minor novelists, he puts in his columns, the foundations of critical thinking that will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," the violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are two acts from which culture entered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers NRF together under the direction of Christopher Bident all literary chronicles not yet published in volume with the proper analysis of the critical work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer of his own rhetoric, delivered more to the echo of the impossible or the lure of the disappearance. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 4 pages et demie in-8 publié dans le numéro du 18-19 Décembre 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. Chronique littéraire publiée à l'occasion de la parution de "L'invitée" de Simone de Beauvoir. On joint le tapuscrit complet. Importante analyse du premier roman de Simone de Beauvoir. Comme à son habitude, Blanchot balaye la contingence narrative du roman pour en extraire l'essence "phénoménologique". Il expose la correspondance philosophique entre l'œuvre de Beauvoir et celle de Sartre. A la suite de La Nausée et des Mouches, Blanchot voit dans L'Invitée "une illustration des analyses que Jean-Paul Sartre a consacrées à notre "existence pour autrui" et qui éclairent, d'une manière admirablement claire, l'un des drames les plus noués, les plus obscurs de la réalité humaine." Ignorant le "triolisme" autobiographique du roman que retient la plupart des critiques, Blanchot dévoile la véritable subversion de L'invitée : " Peut-on se délivrer d'autrui? Peut-être, si, par une action que nous revendiquons entièrement, nous réussissons à prendre conscience de notre liberté." Une référence à peine voilée à l'actualité de l'époque qui trouve un écho dans l'interprétation du meurtre de Xavière : "L'esclave ne devient pas le maître, parce qu'il tue le maître, mais parce qu'en le tuant, il risque ce dont il était jusque là l'esclave, sa vie, sa tranquillité, son accord facile avec le monde." Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        Les treize formes d'un roman Manuscrit autographe et tapuscrit complets EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.|(Paris): S.n. (Journal des débats), 1943. Fine. S.n. (Journal des débats), s.l. (Paris) s.d. (1943), 13,5x21,5cm & 3 1/2 pages in-4, 4 1/2 pages in-8. - Autograph manuscript of the author of 2 and a half pages in-4 published in the issue dated 26 May 1943 of the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Full typescript is attached. Each chapter of the novel by Roland Cailleux, Saint-Genes or short life, has a different narrative form. This is an opportunity for Blanchot return on the value of this literary audacity initiated a few years earlier by Joyce: "The novel is shown here with all its chances, he metamorphosed into everything could be. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer his own rhetoric, delivered more to echo the impossible or the lure of extinction. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 2 pages et demie in-4 publiée dans le numéro du 26 Mai 1943 du Journal des Débats. Manuscrit complet à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. On joint le tapuscrit complet. Chaque chapitre du roman  de Roland Cailleux, Saint-Genès ou la vie brève, présente une forme narrative différente.  C'est l'occasion pour Blanchot de revenir sur l'intérêt de cette audace littéraire initiée quelques années plus tôt par Joyce : « Le roman s'est montré là avec toutes ses chances, il s'est métamorphosé dans tout ce qu'il pouvait être.  Entre avril 1941 et août 1944, Maurice Blanchot publia dans la "Chronique de la vie intellectuelle" du Journal des Débats 173 articles sur les livres récemment parus. Dans une demi-page de journal (soit environ sept pages in-8), le jeune auteur de "Thomas l'obscur" fait ses premiers pas dans le domaine de la critique littéraire et inaugure ainsi une oeuvre théorique qu'il développera plus tard dans ces nombreux essais, de "La Part du feu" à "L'Entretien infini" et "L'Écriture du désastre". Dès les premiers articles, Blanchot fait preuve d'une acuité d'analyse dépassant largement l'actualité littéraire qui en motive l'écriture. Oscillant entre classiques et modernes, écrivains de premier ordre et romanciers mineurs, il pose, dans ses chroniques, les fondements d'une pensée critique qui marquera la seconde partie du XXe. Transformé par l'écriture et par la guerre, Blanchot rompt, au fil d'une pensée exercée "au nom de l'autre", avec les violentes certitudes maurassiennes de sa jeunesse. Non sans paradoxe, il transforme alors la critique littéraire en acte philosophique de résistance intellectuelle à la barbarie au cœur même d'un journal "ouvertement maréchaliste": "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" (Le Livre, In Journal des Débats, 20 janvier 1943). En 2007, les Cahiers de la NRF réunissent sous la direction de Christophe Bident toutes les chroniques littéraires non encore publiées en volumes avec cette pertinente analyse du travail critique de Blanchot : "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." (C. Bident). Les manuscrits autographes de Maurice Blanchot sont d'une grande rareté.

      [Bookseller: Librairie Le Feu Follet]
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        War Speeches Including: Into Battle, The Unrelenting Struggle, The End of the Beginning, Onwards to Victory, The Dawn of Liberation, Victory and Secret Session Speeches Compiled by Randolph S Churchil and Charles Eade

      London: Cassell and Company, Ltd., 1943-1947., 1943. 7 volumes: all First Editions. Octavos. Publisher's blue cloth with gilt titles to spines in the original colour-printed dust jackets.Some age-toning and spotting to the edges of the economy standard paper, jackets exhibit mild wear and some chips and tears, flaps are price-clipped for volumes five and six; no owner names or bookplates. A presentable set. Illustrated with half tone plates. The monumental orations from Britain's war leader; 'Into Battle' (1943) contains the most memorable Churchill speeches of the war, from 'Blood Toil Tears and Sweat' to his heroic homecoming at Harrow School; 'Unrelenting Struggle' (1943) covers the period from Nov.'40 through Pearl Harbour and the 'some chicken, some neck' speech in Ottawa, Dec.'41; 'End of the Beginning' (1946) chronicles the turning point of the war, following victories at Alamein and Stalingrad and the North Africa landings; 'Onwards to Victory' (1947) features speeches delivered prior to the invasion of Europe on 6 June '44; 'The Dawn of Liberation' (1945) continues the 'hopeful' nature of the 1944 speeches, whilst 'Victory' (1946) provides us with the final, triumphant war speeches. Six 'secret' Speeches (1946) concludes the series. Woods, Langworth. See also Cohen.

      [Bookseller: Adrian Harrington Rare Books]
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        An incredible relic: a hand-carved model of a British bomber recovered from the site of Stalag Luft III, the P.O.W. camp that was the scene of "Great Escape."

      [Zagen, Poland], c. 1943-1944. 10" x 8.25". "A hand-made model of an R.A.F. Vickers Wellington bomber, 10"" x 8.25"", carved from wood painted partly in green (camouflage) and white to depict the cockpit and rear gun turret finished with spinning propellers fashioned in metal. A mid-20th century display label has been affixed to the reverse of one of the wings which reads: ""Flugeugsbomber-Modell gemacht vom einem Kriegefangenen im Lager Zagen."" (Trans: ""Model of a bomber made by a prisoner in Camp Zagen""). Expected wear including a few nicks, propellers oxidized, else very good. Quite possibly fashioned by one of the escaping prisoners or one who helped with the plan. From the collection of ""Great Escape"" relics assembled by the founder of ""The War Museum"" and will come with a special certificate for each item. As a collector and curator for over 50 years, these items largely obtained from former Allied prisoners of war as well as local farmers and townspeople in the town of Zagen, Poland (formerly Sagen, Germany). The camp is seven square miles in total and is covered in pine forests. In the last weeks of the war as the Russians reached the camp, the German guards hurriedly buried their equipment, changed into civilian clothes and fled. The Allied POW?s were sent on a forced march in the snow southward to Nurnberg, then to another camp at Moosburg where they were liberated on April 29, 1945. At Zagan there are still various compounds and many areas of derelict buildings and footings. In the 1950?s and ?60?s the local townsfolk and farmers explored and excavated relics from the areas which were only accessible with a four wheel drive vehicle in the more remote parts, having various maps and a compass and even then it was easy to get lost. Such relic hunting has not been permitted over the last several decades, making these early recoveries prized and sought after pieces of history. The camp is virtually inaccessible by foot apart from an area near to the Zagan POW Museum. Most of the relic floor & roof tiles, floor boards, drain pipe pieces, electrical insulators from the high-voltage fences, barbed wire, etc. all have their identical counterparts in the Zagan POW Museum. The P.O.W. camp at Sagen was known as Stalag Luft III, and was managed by the Luftwaffe to house Allied airmen downed over Germany. The Germans established the camp, located in Lower Silesia, in March 1942 and the camp remained in service until January 1945. It was the scene of two famous escape plots, both involving tunneling: one in 1943, which was depicted in the film The Wooden Horse (1950) and another in 1944, immortalized in the 1963 film The Great Escape (1963) starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, and James Coburn. Unlike the film, the real-life ""Great Escape"" did not involve Hollywood stars or props, but rather was an extremely sophisticated attempt to mount a mass escape of 200 or more prisoners via a tunnel dug from inside one of the barracks to the woods outside the perimeter of the camp. Tunneling was particularly difficult at Stalag Luft III, as the Germans had established the P.O.W. camp specifically in order to prevent the practice. The barracks stood on raised platforms so any tunnel started within could be easily detected. Complicating matters further, the sub-surface soil was sandy and bright yellow which contrasted sharply with the drab, gray surface soil, thus rendering it difficult to mask tunneling projects as the excess soil would stand out when dumped on the surface. The prisoners employed a wide range of subtle ruses to dispose of the soil without tipping off the guards. The sandy sub-soil was also prone to collapse, further hindering tunneling operations. The plot, conceived by R.A.F. Squadron Leader Roger Bushell, played by Attenborough in the 1963 film, in the Spring of 1943, involved the construction of several tunnels simultaneously so that if one was discovered, the others would hopefully remain secret. The strategy proved successful. When one of the long tunnels was uncovered, the guards stopped their search as they could not imagine that two others were still under construction. The tunnel that ultimately proved successful was nicknamed ""Harry."" The entrance was hidden beneath the tiles of stove housed in one corner of a barrack and the 102 meter tunnel ran beneath two barbed wire fences and was to emerge in the trees just beyond the outer perimeter. Although over 600 prisoners worked on the tunnels only 200 were slated to use it for their escape. On the night of March 24, 1944, the prisoners began their escape. Much to their dismay, as they emerged on the other side, they realized that the tunnel entrance was short of the tree line. Amazingly, 76 men escaped through the tunnel before guards spotted what was going on. As the 77th man surrendered to the guards, the others bolted into the woods. Of the 76 that escaped, 73 were recaptured?"half of which were executed by the SS. "

      [Bookseller: University Archives]
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        FOUR FREEDOMS. ORIGINAL POSTERS. COMPLETE SET OF 4, THE.

      Washington DC: USGPO for OWI, 1943. - Each 40 x 28 1/2"; 102 x 73 cm. Near fine. These lithographs were produced by Rockwell after the successful appearance of the illustrations on Saturday Evening Post's cover. They were drawn after the preliminary sketches he made to show the editors at SEP. This is a group of all four of the beloved wartime posters: "Freedom of Worship"; "Freedom of Speech": "Freedom from Want"; "Freedom from Fear". They were designed to rouse the patriotism of the American people and also their sentiments. Fold marks, as issued. Never displayed, bright and crisp. These posters are part of a huge collection of WW I and WWII posters we have just acquired. Please inquire for more information.

      [Bookseller: Payson Hall Books]
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        A Tree Grows in Brooklyn

      Harper & Brothers 1943 - Harper & Brothers, New York 1943. First Edition / First Printing. Stated First Edition, no additional printings. Cloth boards. Book Condition: Very Good, light shelf wear, sunning at the spine. Light spots on the boards and endpaper, light age toning. The dust jacket is not present. [Attributes: First Edition; Hard Cover]

      [Bookseller: 1st Editions and Antiquarian Books]
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        A collection of architectural elements recovered from the site of the German P.O.W. camp, Stalag Luft III ? site of "The Great Escape." Offered with a collection of relics from the notorious Colditz Castle near Dresden, where "incorrigible" escape artists were imprisoned

      [Zagen, Poland], c. 1943-1944. Various. "A collection of sixteen pieces ranging in size from 2.5"" x 5"" to 6"" x 15"", dug from the site of Stalag Luft III, in Zagen Poland. The collection includes ceramic roof tiles, drain pipes, and other architectural elements from camp buildings, all of which were bulldozed by the Soviet Union in 1945-1946, and bear the scratches and wear consistent with longtime exposure to the elements. Offered together with a collection of six relics removed from the German prison at Colditz Castle, near Dresden. The collection features two fragments of the drain pipe from the hut that secreted the successful tunnel (nicknamed ""Harry"") as well as a ceramic roof peak from the notorious ""cooler,"" where recalcitrant prisoners would endure solitary confinement. The relics recovered from Coldiz Castle include several stones recovered from a tunnel dug by French P.O.W.'s as well as a piece of wood from one the benches at the Colditz rail station. Some of the Coldiz relics bear labels from a now defunct East German rubber stamp company that was based in the town. From the collection of ""Great Escape"" relics assembled by the founder of ""The War Museum"" and will come with a special certificate for each item. As a collector and curator for over 50 years, these items largely obtained from former Allied prisoners of war as well as local farmers and townspeople in the town of Zagen, Poland (formerly Sagen, Germany). The camp is seven square miles in total and is covered in pine forests. In the last weeks of the war as the Russians reached the camp, the German guards hurriedly buried their equipment, changed into civilian clothes and fled. The Allied POW?s were sent on a forced march in the snow southward to Nurnberg, then to another camp at Moosburg where they were liberated on April 29, 1945. At Zagan there are still various compounds and many areas of derelict buildings and footings. In the 1950?s and ?60?s the local townsfolk and farmers explored and excavated relics from the areas which were only accessible with a four wheel drive vehicle in the more remote parts, having various maps and a compass and even then it was easy to get lost. Such relic hunting has not been permitted over the last several decades, making these early recoveries prized and sought after pieces of history. The camp is virtually inaccessible by foot apart from an area near to the Zagan POW Museum. Most of the relic floor & roof tiles, floor boards, drain pipe pieces, electrical insulators from the high-voltage fences, barbed wire, etc. all have their identical counterparts in the Zagan POW Museum. The P.O.W. camp at Sagen was known as Stalag Luft III, and was managed by the Luftwaffe to house Allied airmen downed over Germany. The Germans established the camp, located in Lower Silesia, in March 1942 and the camp remained in service until January 1945. It was the scene of two famous escape plots, both involving tunneling: one in 1943, which was depicted in the film The Wooden Horse (1950) and another in 1944, immortalized in the 1963 film The Great Escape (1963) starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, and James Coburn. Unlike the film, the real-life ""Great Escape"" did not involve Hollywood stars or props, but rather was an extremely sophisticated attempt to mount a mass escape of 200 or more prisoners via a tunnel dug from inside one of the barracks to the woods outside the perimeter of the camp. Tunneling was particularly difficult at Stalag Luft III, as the Germans had established the P.O.W. camp specifically in order to prevent the practice. The barracks stood on raised platforms so any tunnel started within could be easily detected. Complicating matters further, the sub-surface soil was sandy and bright yellow which contrasted sharply with the drab, gray surface soil, thus rendering it difficult to mask tunneling projects as the excess soil would stand out when dumped on the surface. The prisoners employed a wide range of subtle ruses to dispose of the soil without tipping off the guards. The sandy sub-soil was also prone to collapse, further hindering tunneling operations. The plot, conceived by R.A.F. Squadron Leader Roger Bushell, played by Attenborough in the 1963 film, in the Spring of 1943, involved the construction of several tunnels simultaneously so that if one was discovered, the others would hopefully remain secret. The strategy proved successful. When one of the long tunnels was uncovered, the guards stopped their search as they could not imagine that two others were still under construction. The tunnel that ultimately proved successful was nicknamed ""Harry."" The entrance was hidden beneath the tiles of stove housed in one corner of a barrack and the 102 meter tunnel ran beneath two barbed wire fences and was to emerge in the trees just beyond the outer perimeter. Although over 600 prisoners worked on the tunnels only 200 were slated to use it for their escape. On the night of March 24, 1944, the prisoners began their escape. Much to their dismay, as they emerged on the other side, they realized that the tunnel entrance was short of the tree line. Amazingly, 76 men escaped through the tunnel before guards spotted what was going on. As the 77th man surrendered to the guards, the others bolted into the woods. Of the 76 that escaped, 73 were recaptured?"half of which were executed by the SS. Incidentally the ""Great Escape"" mounted at Stalag Luft III in March 1944 foiled an even bolder plan by a select group of airmen imprisoned at Coldtiz castle. The prison, designed for high-profile prisoners as well as P.O.W.'s who had made numerous escape attempts, was deemed ""escape-proof,"" but was the scene of numerous attempts. The most audacious involved a glider, built secretly in the attic of the 19th century castle, known as the ""Coldiz Cock."" However after the execution of 50 of the fugitives from Stalag Luft III, the Allied High Command officially discouraged escape attempts, though they encouraged the continued construction of the glider as a means of occupying the prisoner's time and preventing boredom. The glider was never flown, but it was photographed shortly after the prison's liberation in April 1945 before it disappeared once Soviet troops began occupying the area. "

      [Bookseller: University Archives]
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        [Photo Album]: World War II Woman Marine's Club Souvenir Photos

      Veterans' Photo Service. 1943-1945. Oblong quarto. Measuring 10" x 12". String-tied brown cloth photo album with "Semper Fidelis" stamped on the front board. A collection of 37 black and white and sepia-toned professional photographs measuring between 3.5" x 5" and 8" x 10" in personalized souvenir cardstock sleeves or envelopes. A World War II Woman Marine's (referred here only as "Terry") scrapbook of souvenir photos taken at various officer's clubs and popular night clubs throughout the United States between 1943 and 1945. Many of these are in California including The Little Club at the U.S. Grant Hotel, Top's, Jimmy Kennedy's Paris Inn, Sherman's, the New Continental Room, the Monte Carlo, all of which are in San Diego, as well as the Hollywood Palladium, The Lotus in Washington, DC, and Ocean View Park in Norfolk, Virginia. They depict smiling women and men in uniform at nightclub tables posing for their souvenir photo and are mostly personalized to Terry from her various comrades. Women joined the ranks of the Marines in 1943 as the Marine Corps Women's Reserve and were admitted due to the shortage of manpower from deploying troops on two fronts. An extensive collection of professional photography showing the nightlife of Women Marines in World War II. .

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