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Displayed below are some selected recent viaLibri matches for books published in 1956

        In the Winter of Cities

      New Directions New York: New Directions. (1956). First. First edition. White parchment boards in labeled slipcase. Fine in fine slipcase. One of 100 copies Signed by author. A beautiful copy. .

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


        The Silver Chair

      London: Geoffrey Bles, 1956.. Illustrated by Pauline Baynes. First Edition. Very Good +/Very Good +. FIRST EDITION Bound in the publishers original blue boards with silver title lettering to spine. This is the second impression of the first edition. A notoriously elusive Narnia title to encounter in the first or early impressions. All pages are present and correct. Book sits solid and square with all corners sharp. Housed in the beautiful Pauline Baynes dustwrapper with the illustrators exquisite silver chair to the front panel. Light wear and signs of handling otherwise a most presentable example of the dustwrapper. Protected in a removable archival booksleeve to preserve its condition. A jolly nice copy !

      [Bookseller: The Rare Book Shelf]
 2.   Check availability:     UKBookworld     Link/Print  


        The Last Battle

      The Bodley HeadLondon1956. 1st edition,H/B,D/W (clipped,slight loss at head,spine faded in protective cover) 8vo, 184pp, illustrated by Pauline Baynes, neat inscription f.e.p dated 1956. Clean copy

      [Bookseller: Bonython Bookshop]
 3.   Check availability:     UKBookworld     Link/Print  


        Scott Fitzgerald at La Paix

      Department of the Humanities Massachusetts Institute of Technology Cambridge: Department of the Humanities, Massachusetts Institute of Technology. 1956. First. First edition. Stapled wrappers. 17, (1)pp. Faint wear, near fine in original mailing envelope, with Turnbull's signature in the return address. Inscribed by Turnbull: "Enjoyed our talk and hope we meet again sometime. A.T." Very scarce pamphlet. .

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

      Rene Juilliard Paris: Rene Juilliard. [1956]. First Edition, Inscribed by the author on the half-title, "A Madame Germaine / Beaumont / en respcteux homage / Francoise Sagan". 8vo; 189pp; original wrappers printed in black with green lined border, corner of last page missing about 1/8 x 2", a bit browned else fine. Germaine Beaumont, the recipient of this book, was a novelist. Francoise Sagan (1935-), wrote BONJOUR TRISTESSE, her first novel when she was just nineteen. Her second novel, UN CERTAIN SOURIRE appeared in 1956 and further added to fame. Sagan's private life, with her addiction to painkillers and alcohol, her penchant for fast cars and fast driving resulting in a near fatal crash in 1957, has fascinated the French public. Her youth combined with the sophistication of the novels' subject matter and language caused the books to become an international literary event. Her work as an author, playwright and filmmaker have won her a quiet respect among her peers. In particular, her first two novels, with their evocation of an almost existential boredom in a middle-class milieu, using the vocabulary of polite everyday speech to describe nuances of emotion, evoking an apparently simple and transparent world, deserve critical attention. Taking her name from a character in Proust's A la recherche du temps perdu (in what is a not so subtle calling to attention of her style of analysis of emotion contrasting to his) and the title of her first book from a poem by Paul Eluard, Sagan sought to put herself squarely on the French literary map - and beyond. Using literature to achieve the cult status of Elvis Presley and Andy Warhol, her work is, nonetheless, a strong commentary on popular culture. Although Sagan has publicly allied herself with some feminist causes, it is her work that speaks volumes in this area. Her character, Cecile, in BONJOUR TRISTESSE transgresses all of the societal norms for women (at that time) and sets the pattern for many of her subsequent characters. Yet these characters cannot be reduced to the "vamp" stereotype. Masterpieces of Women's Literature, pp. 83-85. Bloomsbury Guide to Women's Literature, p. 983. See an Image.

      [Bookseller: Priscilla Juvelis, Inc. ]
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        PHILIPPE BONNET: PEINTURES

      Berggruen & Cie Paris: Berggruen & Cie, (1956). Narrow 8vo.; (2)pp. 15 color plates with captions. Original color pictorial stiff wrappers, glassine dust jacket. A fine copy. First edition, #4 of fifteen copies signed by Tzara and the artist. Issued for the first Paris exhibition of Bonnet's work and illustrating ten paintings in pochoir.

      [Bookseller: Bartlebys Books ]
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        La Montagne - 1st Edition/1st Printing

      Paris: Librairie Larousse. Fine in Very Good+ dust jacket; Signed by Author. 1956. First Edition; First Printing. Hardcover. A most attractive first Edition/first printing in Fine condition in Very Good+ dust jacket, with a small number of little chips at the edges. SIGNED by AUTHOR Maurice Herzog on the title page. An indispensable mountaineering guide in original French language; A stunning guide into mountaineering from the perspective of the mid of the 20th century by Maurice Herzog, Leader of the French Himalayan Expedition in 1950 to conquer the first 8,000-meter peak ever, the Annapurna. Countless photos in black and white as well as colored illustrations .

      [Bookseller: Books Tell You Why ]
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        NIXON

      New York: Holt, (1956). First Edition. Hardcover. Spine of book darkened. Very Good in Near Fine price-clipped dustwrapper. The first study of this complicated man. INSCRIBED and SIGNED by both Toledano and Nixon to editor William Randolph Hearst, Jr., son of William Randolph Hearst, the newspaper despot and subject of Orson Welles's film CITIZEN KANE. It was Hearst who was largely responsible for the Hollywood image of the hard-drinking cynical reporter always in pursuit of breaking news. The younger Hearst shared the 1956 Pulitzer Prize for international reporting for his interviews with the new Russian leadership, and in 1959 he would cover Nixon's visit to the Soviet Union. Nixon's inscription reads: "To Bill Hearst/who is always a/friend in good or/bad weather -- from/Dick Nixon." Over the course of time, Nixon's attitude toward journalists became rather weatherworn (yes, we could go on, but we'll stop while we think we are ahead). A fine association.

      [Bookseller: Charles Agvent, ABAA ]
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        In the Winter of Cities

      New Directions Books (Norfolk, CT: New Directions Books, 1956). First edition. One of 100 copies, signed by Williams. Printed by Peter Beilinson at the Peter Pauper Press. Overlooked in light of Williams’s titanic reputation as a playwright is the fact that his first appearance in print was in the anthology Five Young Poets in 1944. Williams only published two collections of verse in his lifetime, this being the first, followed by Androgyne, Mon Amour in 1977. Parchment boards show slight toning to spine, else very fine in publisher’s slipcase, which is also lightly toned and has few small spots of paper loss along extremities.

      [Bookseller: Bromer Booksellers ]
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        Nekrassov. Pièce en huit tableaux.

      Paris, Gallimard, (1956). 8vo. Bound uncut with the original wrappers, also the back-strip, in a beautiful elegant red morocco binding with red and black patterned paper to boards. Top-edge gilt. Title, author and year in gilt lettering to spine, the title vertically in large capitals. Inside of front board with a gilt super ex-libris. Binding signed at bottom of inside of front board: "C. et J-P. Miguet". Housed in a Black and red paper slip-case with red morocco edges. An excellent, near mint copy.. First edition in book form of the political play that Sartre himself called " "The Respectful Prostitute" on the level of politics" (Sartre, "France-Observateur", June 9, 1955), by other contemporaries called a "crypto-communist" work, or even worse "a farce in eight tableaus".Hors commerce-copy (marked "H.C.") of the regular issue. The printing in book form was preceded by the appearance of it in "les Temps modernes, no. 114-15, 116, & 117, June-September of 1955. "Nekrassov" is Sartre's response to the anti-communist sentiments found in the post-second world war era, personified in the American senator Joseph McCarthy. The play is a political comedy written in the form of a playwright that demonstrates the difficulty of maintaining personal freedom in a society obsessed with the threat of communism. The well esteemed critic wrote in his review of Nekrassov: "[It] reveals him as the best comic talent of our times." Almost none of the contemporary reviews from the critics of the center and rightist press were favourable, though. "[A] certain grim rejoicing was apparent in the columns of these mourners as they celebrated the still-birth of "Nekrassov"." (Neal Oxenhandler, "Nekrassov and the Critics, in: Yale French Studies, No. 16, 1955, p.8). Although "Nekrassov" has not been performed on the stage in Paris since 1955, in the literature to come, the play has achieved the role as one of the best pieces Sartre ever wrote. Contat & Rybalka: 55/265 - b)

      [Bookseller: Lynge & Søn A/S]
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        Quiet Days in Clichy. Photographs by Brassaï.

      Paris, The Olympia Press, 1956. Small 8vo. Original illustrated black, grey, and yellow wrappers (designed by T. Tajiri). A bit of wear to spine and minor wear to extremities. Inner hinge slightly work. A fine and clean copy. 171, (1), (2 - colophon) pp. + 15 photogravure-plates (illustr. on both recto and verso) and 1 photomontage (illustr. on verso only), all by Brasaï.. First edition (with First and original edition to title-page) of the magnificent collaboration of Miller and Brassaï, which turned out to be a scandalous masterpiece connecting photography to a writing of the urban and one of the most famous portraits of underground-Paris of the 30'ies. The work is groundbreaking in its way to use photography in literary production; By stressing the illustrative quality of Brassaï's images, rather than the procedural effort, Miller moves away from Adorno's analogy between surrealism and photography, and in the process signals one of the major differences in how to read the use of photographs within surrealism as a whole. (Blinder, A Self-Made Surrealist: Ideology and Aesthetics in the Work of Henry Miller, p. 72).Miller uses Brassaï's famous, now iconic, pictures of Paris night-life to display rather than disclose the erotic aspects of the city, and the sensuous work caused a scandal when it appeared. The pictures depict street-scenes of prostitutes waiting for customers, sailors kissing women in public, young people flirting, kissing, dancing, drinking, and beautiful nostalgic pictures of Paris by night, all coming together with the words of Miller, and creating the essential picture of a lively, open, and free Paris by night, full of debauchery. At the same time, Quiet Days in Clichy is a nostalgic look into Miller's bachelor-life in Paris, with an open view to the constant promiscuity. When I think about this period, when we lived together in Clichy, it seems like a stretch of Paradise. There was only one real problem, and that was food. All other ills were imaginary... it wasn't optimism, it was the deep realization that, even though the world was busy digging its grave, there was still time to enjoy life, to be merry, carefree, to work or not to work... It was the period when cunt was in the air... (QDC, pp. 46-47).In a 1933-letter, Miller expresses his wish to make a niche for Brassï in the book he was then working on, Tropic Cancer, partly in honest tribute to his talent, and because one of the principal themes of my book is the street''. Miller didn't include the photos in Tropic Cancer, however, and instead he used them for his Quiet Days in Clichy in twenty-three years later. In the meantime the two artists became close friends... Although it took Miller over twenty years to actually use Brassaï, the original project, described in the 1933 letter as intended to convey an impression of the streets of Paris of which the photographs of Paris seem the perfect illustrations, shows Miller's desire to convey a distinctly European image of the city.In Miller's use of Brasaï, the streets, bars, and dance-halls of Paris are transformed with the desire to show , rather than hide, the erotic aspect of the city. (Blinder, p. 71)

      [Bookseller: Lynge & Søn A/S]
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        Bible.

      Verve. Revue artistique et litteraire. Directeur : Teriade. Vol. VIII, Nos 33 et 34. Éditions de la Revue Verve Paris 1956. Folio. Ce double numéro de Verve est consacré à la reproduction intégrale en héliogravure des 105 planches gravées à l`eau-forte par Marc Chagall, entre 1930 et 1955, pour l`illustrations de la Bible. L`artiste a composé spécialment pour le présent ouvrag 16 lithographies en couleur et 12 en noir, ainsi que la couverture et la page de titre. Ce volume a été achevé d`imprimer le 10 Septembre 1956, par les Maitres-Imprimeurs Draeger Frères pour l`héliogravure et par Mourlot Frères pour la lithographie. 34 pages of text + plates. Publisher´s decorative boards. 36 x 27 cm

      [Bookseller: Antiquaria]
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