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

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


        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]
 13.   Check availability:     IberLibro     Link/Print  


        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]
 14.   Check availability:     Biblio     Link/Print  


        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]
 15.   Check availability:     Biblio     Link/Print  


        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]
 16.   Check availability:     Biblio     Link/Print  


        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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        The Lady in the Lake: A Philip Marlow Mystery.

      Alfred A. Knopf, New York 1943 - First edition / First printing. Green cloth. 216 pages. Fine in a near fine dust jacket. No restoration, a remarkable copy. Chandler's fourth book. $2.00 Net Price present. [Attributes: First Edition; Hard Cover]

      [Bookseller: Orpheus Books]
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        CHARTER OF HEART MOUNTAIN RELOCATION CENTER WYOMING [caption title]

      Heart Mountain, Wy. 1943.. 6,2pp. Mimeographed sheets, stapled. Near fine. Charter devised and printed by the members of the Heart Mountain Relocation Center, together with a summary of the Charter Commission's work. The internment camp at Heart Mountain opened in August 1942 and closed in November 1945. Over the course of the three years it existed as a War Relocation Authority facility, some 13,997 incarcerees passed through the Heart Mountain internment camp. Many were destined to stay within its barbed wire confines the entire time. At its peak, the camp population was 10,767. The camp functioned as a small town - albeit within the confines of a barbed wire fence and with group mess halls for all the dining - with schools, jobs, medical facilities, etc. The preamble of the charter reads: "We, the residents of Heart Mountain Relocation Center, Wyoming, composed of American citizens of Japanese ancestry, alien Japanese, and other racial groups, involuntarily evacuated from the Pacific Coast, in the cooperative spirit of assisting the Project Director of this Center, as free persons, and as classes of persons, associating ourselves as one common body, to establish justice and promote the welfare of this community, do hereby adopt this Charter. The approval and the acceptance of this Charter, in its entirety or any part hereof do not in any manner whatsoever, relinquish nor surrender any of the rights and privileges of said groups as guaranteed by the Constitution of the United States of America." The charter further outlines qualifications for voting, the legislative body and its powers, the format for general elections, and other governing provisions. A scarce piece of printing from this Japanese internment camp.

      [Bookseller: William Reese Company - Americana]
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        The Ministry of Fear

      London, Heinemann. 1943, 1943. Second printing, June 1943., GREENE FAMILY COPY, INSCRIBED. 8vo. 236pp. Publisher's yellow cloth, lettered in black. A rather used copy in partial dustwrapper; the front flap, upper panel and spine are present, but lacking the rear panel and flap. Redeemed however by several jottings to flyleaf; there is a curious inscription in black ink; 'W H Greene from Graham Greene (Oak Cottage Plumpton Sussex)' which was actually penned by Greene's brother Hugh, whilst Graham himself has signed the page in blue ink much lower, and drawn an arrow or link line to this other inscription. Additionally, the leaf bears the ownership signature of the recipient W.H.Greene, in pencil, underlined and dated 1945.

      [Bookseller: Adrian Harrington Rare Books]
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        Le Petit Prince

      New York: Reynal & Hitchcock, 1943. Wraps. First Softcover Edition, First Printing with no subsequent printings listed on copyright page; "Flying Crow" present on page 63; Publisher's name at base of spine extends slightly onto covers as called for in first issue. In Very Good condition. Wraps show toning, light rubbing, two tiny white specks on front cover and light edge wear. Thin, 1-inch stain to front gutter, light tidemark to top corner of last two pages and to top of page block. A nicer copy than normally found, and extremely rare in this format.

      [Bookseller: Burnside Rare Books]
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        The Author's Original Typed Manuscript for "Journey in the Dark."

      New York: Harper & Brothers, 1943. The author's original hand-corrected typescript for his most important work, "Journey in the Dark," which won the Pulitzer Prize in 1944. Donated by Flavin to the US Treasury Department "to help the war financing campaign," with a certificate from "The Books and Authors War Bond Committee" dated May, 1945. This typescript purchased by or for Seton Hill College in Greensburg, PA, as printed on the certificate. A note in the author's hand reads as follows: "This is the original MS of "Journey in The Dark," as I wrote it at the rate of about 500 words a day between April 1941 and July 1943. I compose on a typewriter, and though I may write a page a dozen times, when I finally leave it, it is finished. Indeed, long before this book was finished, it was going into galleys. I use loose leaf paper - keeping the work in binders as it progresses. Martin Flavin | May 15th 1944." Two cover sheets typed by the publisher with the title and list of other works by Flavin precede the typescript. Dedication page typed by the author, stamped "Received Aug. 17, 1943." The complete typescript comprises 611 one-sided typed sheets (three-hole punched) with publisher and editor notations throughout. The author's holograph corrections in blue ink on approximately 125 leaves and several other leaves with pencil corrections transferred from the galleys. In addition to grammatical corrections, the author clarifies "why the flak was unalarming," removes racial references, changes a character's name to Mr. Ginsberg from Mr. Bergman, and deletes a page and a half aside about American apathy towards WWII up until the bombing of Pearl Harbor. How many Pulitzer Prize winning manuscripts from the 20th century still remain in private hands?

      [Bookseller: Whitmore Rare Books]
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        Front-Illustrierte. No. 29

      1943. RUSSIA. Front-Illustrierte. Für den Deutschen Soldaten. No. 29. 2 leaves. Folio, 285 x 212 mm. December, 1943. |~||~||~||~| A fine copy 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 presents a photograph of the unified Allied leaders, followed by images of their armies encircling Hitler, himself depicted as an octopus clinging to Germany. The text suggests that the German soldiers cooperate in rebelling against their leaders. A fine copy.

      [Bookseller: Ursus Rare Books]
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        THE LITTLE PRINCE (Signed Ltd )

      New York: Reynal & Hitchcock, 1943. First edition. Very Good +/Very Good. One of 525 copies of the signed first edition, this copy number 272, as numbered on the colophon and the jacket spine. Book Very Good + on account of two clippings affixed to the final blank leaf, with offsetting to the adjacent pages. Previous owner's name written on the half-title and "first edition, autographed" helpfully written on the front end paper. The dust jacket is original to the book as seen in the matching spine number, but has been price-clipped and is chipped at the spine ends. "The Little Prince" is the best-selling French language book of all time, beloved around the world. It tells the story of a pilot, stranded in the Sahara, who encounters the Little Prince, visiting our world for a brief time before returning to his home planet. Unlike so many children's books with one simple message, "The Little Prince" offers several profound insights for readers of all ages. "Antoine de Saint-Exupery, most metaphysical of aviators... has written a fairy tale for grownups. The symbolism is delicate and tenuous. It challenges man the adult, and deplores the loss of the child in man." (Contemporary review in "Time" magazine). Very Good + in Very Good. dust jacket.

      [Bookseller: Whitmore Rare Books]
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        Les mouches

      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! Gallimard Paris 1943 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        POUR UN REVEIL FRANCAIS

      A L'OMBRE DES CYPRES 1943 - R200044777: 62 Pages. Mouillures dans l'ouvrage sans conséquences sur la lecture.Plats tachés. Plats désolidarisés. In-Folio En feuillets. A relier. Plats abîmés. Dos abîmé. Intérieur acceptable Classification Dewey : 840-Littératures des langues romanes. Littérature française [Attributes: Soft Cover]

      [Bookseller: Le-Livre]
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        KRIEBELTJE DE BOSKABOUTER

      - WORLD WAR II. KRIEBELTJE DE BOSKABOUTER. no publishing information, Dutch, circa 1943. Oblong 4to (11 x 7 1/2"), pictorial wraps, some soil, VG. An elf named Kriebeltje meets a caterpillar in the forest that has the face of Adolf Hitler. The caterpillar is eventually eaten by an ant. Illustrated with 2 full page color illustrations and several partial page color illustrations by Clia. Rare. [Attributes: Soft Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Bel Ami. 3 volumes dont 1 de suites.

      Paris, chez Porson 1943-1945 - Lithographies originales de Grau Sala. 118 compositions. Complet & Contrôlé. Édition tirée à 275 exemplaires. Celui-ci (N°50) un des 50, sur papier teinté, contenant une SUITE en noir des 118 illustrations avec remarques inédites, une AQUARELLE, et 4 planches inédites en noir. Paris, chez Porson - 1943-1945. 309 et 301 pp. Pages volantes sous couverture illustrée. 3 chemises individuelles illustrées, aux dos toile grise ornées en couleurs. Étui commun. Pas de rousseur. Très bon état. Bel exemplaire. Format in-4°(26x18). Edition illustrée

      [Bookseller: Livres et Collections]
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        History of the Second World War. The Mediterranean and Middle East. [SIX Volumes] Vol. I: Early Successes Against Italy; Vol. II: The Germans Come to the Help of Their Ally; Vol. III: British Fortunes Reach Their Lowest Ebb; VOL. IV: Destruction of the Axis Forces in Africa; VOL. V: The Campaign in Sicily 1943 & the Campaign in Italy; VOL. VI: Victory in the Mediterranean, Part I: April to June 1944.

      London Her Majesty's Stationary Office. Mixed editions (5th, 3rd, 2nd, 1st, 1st, 2nd). 6 Volumes (544, 424, 482, 556, 921, 520 pages). Missing: Vol. VI part II and part III. With DJs and orig cardboard slipcases with publishers identif. stamps outside, all volumes have been stored inside these slipcases ever since purchase and accordingly are perfectly preserved, except for some creasing at edges of DJs and some minor bumping at 2 corners of boards of Vol. I, everything else as new. +++ Orig. price in the 1960ies: 265 GBP (= 860 DM), according to slipcases. +++ Need further photos and/or information? Just use the "Ask Bookseller" button and we'll be pleased to help. Sehr gut Hardcover Buch. Wie neu

      [Bookseller: Magister Michalis Versandantiquariat]
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        Le mythe d'Oreste. Manuscrit autographe et tapuscrit complets

      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. S.n. (Journal des débats) s.l. (Paris) s.d. (1943) 13,5x21,5cm & 4 pages in-4 4 1/2 pages in-8

      [Bookseller: Librairie Le Feu Follet]
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        Manuscript Notebook documenting 162 numbered dates with girls, with specific activities, locations, and the author's assessments of every date

      1943-1947, [Berkeley, CA] 1943 - Spiral notebook, approx. 5.75 x 3.75 inches, completed rectos only in ink in a neat, legible hand. Manuscript account of the loves and losses of an unnamed Berkeley Teenage Casanova, from 1943 to 1947, meticulously recording the girls’ names, contact information, what they did on the dates (movies seen, diners visited, picnics, parties, UC Berkeley sporting events, etc.) and a brief assessment of each date ("enjoyable," "she likes to talk," "never enjoyed dancing so much," "no comment," "alright," "it's slow but sure"). This teenage "player" is no doubt a UC Berkeley student; certainly he has a car which he parks on UC Berkeley campus. The diary documents an innumerable stream of girls; a large part of the text describes he rise and fall of an extended romance with Marilyn is charted in detail, from "If we were a bit older, one would say that we’re engaged" through "undoubtedly she’d have enjoyed herself more with a trained dog – which I’m not!" to "at long last the embers have turned black!" At the end of the diary, on Sept. 12, 1946, the author is 19 years old. His dates are young; in some instances very young: writing on April 20, 1946, the author states that in 18 months Marilyn is going to be 17 (sic). As the diarist concludes philosophically at the end of his notebook: "And thus I end this, the first report on girls that I know, or in many cases have known. I close with the realization that my search is not yet over. And so I look forward to new faces and new loves." A fascinating look at romantic mores during the sociological dawn of the Teenager. Very good antiquarian condition

      [Bookseller: Michael Laird Rare Books LLC]
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