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Displayed below are some selected recent viaLibri matches for books published in 1970

        Spojrzenie na wrzesie MOVIE POSTER/1939/POSTER

      1970 - 1939 - 1970, Dir: Maciej Sienski, Cast: , , Nac. film: POLONIA, Company: , Designer: , , Nac. poster: POLONIA, Measures (Cm. and Inches) : 59X82 CM 23X32 IN, Type of product: POSTER, , POSTER are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet! Please see bigger picture for details., , La mayoría están en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeño. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opción! Por favor ver la foto en grande para más detalles., , SHIPPING COSTS: Fold posters SPAIN 15? -Correo certificado EUROPE and all world 20?

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        The Trumpet of the Swan. Pictures by Edward Frascino.

      New York: Harper & Row, Publishers, 1970 - Octavo. Original blue cloth, titles to spine in silver and gilt, author's facsimile signature in gilt to front cover, blue endpapers. With the dust jacket. Spine lightly faded, very minor rubbing to extremities, faint foxing to fore edge; an excellent copy in the jacket with Doubleday bookseller's sticker to rear cover and slight creasing to spine ends. Illustrated double page title page, black and white illustrations in the text. First edition, first printing. Presentation copy, inscribed by the author on the front free endpaper, "For Eric Lee, ex journalist, from E. B. White, ex-journalist". E. B. White had an extensive journalistic career, stating that, "I was a journalist first, an author second" (Aronson, p. 76). He published his first article in The New Yorker in 1925, joining the staff in 1927, and continued to contribute for almost six decades, his output enough to total "thirty-six pieces a year; or three per month" (Aronson, p. 72). The Trumpet of the Swan is White's third novel for children. John Updike wrote of it in his review that "we, and our children, are lucky to have this book" (New York Times, 28 June 1970). Deb Aronson, E. B. White, 2005. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Salmon of the World

      Winchester Press, New York 1970 - Limited edition of 750 copies of which this is no. 486. 63 p. 41 cm. 30 colour plates by the author in front folder. 30 smaller b&w illustrations in text. One fly hook and one fly hook illustration on dedication page. Blue cloth spine with marbled paper boards. In matching slipcase with light wear on lower spine. Signed twice by Schwiebert, once on copyright page and on p. 7. First plate has slight discolouration. Ernie Schwiebert was a renowned angler and angling author, a pioneer in the fishery conservation movement, and involved in the founding of Trout Unlimited. The foreword is by Arnold Gingrich, co-founder of Esquire and another famous fly-fisherman. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Attic Books (ABAC, ILAB)]
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        ORIGINAL TYPED MANUSCRIPT DRAFTS for RUDY WURLITZER'S cult classic novel THE DROP EDGE OF YONDER together with ORIGINAL TYPESCRIPTS for his original screenplay titled ZEBULON, a movie project which he sought to market. The film project never came to fruition and Wurlitzer reworked his script into the novel "The Drop Edge of Yonder".

      1970's through circa 2006. . Very good. DEVELOPMENT OF A RUDY WURLITZER MASTERPIECE FROM "ZEBULON" TO "THE DROP EDGE OF YONDER" INCLUDING A DETOUR TO "DEAD MAN" - An archive of source material which follows the development of Rudy Wurlitzer's novel "The Drop Edge of Yonder" from its original conception as a Western movie. The film script was initially titled "Dead or Alive" and subsequently "Zebulon" by Wurlitzer. For a few brief weeks when he sought to collaborate with the indie film maker Jim Jarmusch on the project, it was titled "Ghost Dog".As much of the material is undated, it is difficult to place it into any real chronology, except perhaps by making assumptions that those screenplays and manuscripts with different titles than the finished product preceded the screenplays titled "Zebulon" and drafts of the novel titled "The Drop Edge of Yonder". Though the early scripts differ, the story eventually revolves around the character of Zebulon, a mountain man who early on is shot in the heart and lives on borrowed time until, in the final act, he sets off lying in a canoe in a scene reminiscent of Arthur floating off to Avalon.Included in this archive are 11 drafts of the screenplay eventually titled "Zebulon" (aka "Dead or Alive") by Rudy Wurlitzer. Of these, a first typescript, bound in a light green stiff binder stamped "Screenplay by Rudolph Wurlitzer" is titled "An Original Screenplay (Untitled) First Draft by Rudolph Wurlitzer". The 97 page typescript's first page opens with the following setting: "Cut from Black. A white schooner with golden sails anchors off a mountainous coast. On her prow is carved a maiden holding two swords across her chest. Directly in front of the Schooner is a large estuary, where three rivers join to meet the sea. In back of the estuary rise the snow capped mountains of a vast wilderness." Described by Rudy Wurlitzer in a one-page synopsis, this screenplay and a few subsequent ones is quite different than the version which he later titled "Zebulon". This, and three more copies of the screenplay now titled "Beyond the Mountain", is described as "an action adventure story set in the far west in the nineteenth century. It is a mystical journey of a brother and sister - Sara and Satchel Killbuck - who lose their parents in a sudden devastating raid on their remote mountain Trading Post. The killers are a strange mix of Asian and European Pirates who steal a box hidden in the fireplace by Ma Killbuck and her Chinese cook. Sara and Satchel, young and inexperienced, enlist the help of a half breed trapper - Pawnee Sam - to revenge their parent's murder. Pawnee Sam, not caring about revenge, is obsessed with the idea that the box holds a fortune in gold". Zebulon himself makes a late appearance in these early scripts and, though the story is quite different than later versions, several characters reappear throughout the different drafts as later versions take shape.A second copy of this script, this one with 104 pages, is titled "An Original Screenplay 'Behind the Mountain' by Rudolph Wurlitzer". Bound in a torn orange binder, the following credits appear at the bottom of the title page: "Nicole Mathieu Boisvert (Canada) / Gerald Dearing (U.S.A.) / Les Productions Agora Inc...." Profuse notes are penned in ink on the first page. "Who is the central character?" is followed by a list of those who appear in the screenplay. Several questions are then penned in a column under "Schooner" questioning "which year", "period?", etc. and noting that the reference on page 68 should be to "Pawnee Sam" instead of "Zenas". By the third draft here present, this one bound in torn light blue paper wrappers, the screenplay is titled "Beyond the Mountain (Tentative Title) by Rudolph Wurlitzer". The credits at the bottom of the title page read: "Bob Rafelson / c/o B B S Productions...." This 120 page script dives right into the story. Another script, this one titled "Beyond the Mountain (Revised Script) by Rudolph Wurlitzer" bound in light brown paper wrappers is 101 pages long. These scripts are accompanied by a substantial bundle of disbound loose pages, many typed rather than mechanically reproduced, with occasional corrections in ink and blue felt. A 105-page typescript of the screenplay, now titled "The Mountains of the Heart by Rudy Wurlitzer" begins by describing the setting which will remain consistent: "Superimpose - Black Screen. 1898. Northwest Territory. William McKinley is President. War has been declared with Spain. The automobile has been invented and that strange breed known as mountain men are fast disappearing from the Western landscape". Although the setting has changed, many of the characters from the prior drafts are retained with new characters making their first appearance. The script starts with Boone Pike and Logan and ends with a view of the vast solitary ocean the morning after the "gut-shot" Boone sets off lying down in the "stern of the Canoe". The next script, a 116-page draft now titled "Dead or Alive" is bound into a red binder titled in gilt on the front cover. The credits at the bottom of the title page state: "Rudy Wurlitzer c/o Tropique Productions...." The screenplay now begins with "Zebulon Pike, a large, powerful man in his early forties, dressed in greasy buckskins, long hair flowing over his shoulders, rides through the dense shade of a redwood forest. Next to him rides his father, Solomon Pike, an ancient white-bearded figure in a beaver hat...." The screenplay ends as the camera pulls back as "Stebbins and the Captain ride into the woods..." this, after "Jason paddling a canoe out into the estuary, pulling the ceremonial canoe with the body of Zebulon lying inside, arms folded, eyes closed." Having now established his principal character, a 114-page draft is now titled "Zebulon by Rudy Wurlitzer" with "(First Draft)" penned in ink by Rudy Wurlitzer under the title. This draft starts with "A small stream in the high mountains surrounded by Douglas Fir. Zebulon Pike, a large powerful man in his early forties, dressed in greasy buckskins, long hair flowing over his shoulders, sits high up in a tree. His father, Solomon Pike, stands looking up at him...." At the conclusion, as with the prior draft Jason paddles out pulling a canoe within which is laid Zebulon's body and "Stebbins and the Captain ride into the woods as: The camera pulls back". A 95-page draft bound in a printed light blue "William Morris Agency" binder now includes a title page with "Zebulon" reproduced in a shaded large typographic title font above "by Rudy Wurlitzer". The setting of the story is the same but the story here starts with Zebulon sitting with his family at a rough hewn table in their crude log cabin before standing up and heading out. The language now appears more poetic and spare, as his son Jason hands the reigns up to his father: "See that gets cut up, stacked nice and neat. And fix the shakes on the roof. Mind the new foal." he tells his son. His wife Sara requesting "I want somethin' other than an ax this time. Somethin' to wear, something nice." Shortly thereafter, "Zebulon sits high up in a tree...." The end, now, also differs. To Sara's question: "But why are you leaving?" Zebulon replies "Because I want to look straight at the misty beyond when it comes and not have anyone get in my way. Not even my own damn family. I need to be in my own lodge."... "Zebulon gets into the canoe....". Three more drafts, each unbound, are included. Two, at first glance, appear quite similar. One of these, a 112-page draft, is missing it's first two pages. The second of these, however, is only 111-pages long. There are numerous corrections and annotations in blue, black and red ink to the last part of this second draft. Lines of text and dialog are crossed out, sometimes replaced with descriptions of a new setting or action. A whole page is crossed out with the following words penned in red: "Indian guy gives Zeb a rattle made from large gourd..." In another instance, with minor differences the dialog which appeared in type in the "William Morris Agency" draft is here penned in blue ink on the opposite blank page: "Zebulon - I want to look at the misty beyond when it comes & not have anyone get in my way. Especially my own damn family. That's the way I am - I came to say goodbye. And now I say it." A third draft, this one 104 pages long, which starts with Zebulon and his family sitting at the rough hewn table, has occasional corrections penned in ink throughout. The first few pages have the most changes with several lines of dialog crossed out and replaced with often sparser lines.As we trace the development of the various drafts, it appears that the 95-page draft bound in the William Morris Agency binder, a now more poetical version of the screenplay, is likely the closest to a finished script.One of Rudy Wurlitzer's partial notebooks which contains miscellaneous notes on Rudy's activities at the time provides additional insight into his development of the screenplay for "Zebulon". Penned in ink on graph paper at the front of the 12 inch high by 8-3/8 inch wide spiral bound gray board notebook are 22 pages of Wurlitzer's musings and thoughts about "Zebulon". "Zebulon 1) Machines - learn about wife daguerrotype ... Tom in bed with hooker after incident about Will in Bar... 4. killers came in / gunfight-: shoots 2 / hooker dies ...." he writes on the first page of notes specifically about the screenplay. A few pages later, titled "Ghost Dog", he muses: "Tom rides out of town - wounded - slumped over. ... Morning - Cut to Indian operating - kneeling on Tom's chest with Bowie knife - digging - Tom wakes up - Freaked - Indian explains - Bullet in heart - cannot take out! (holding him down)...." These 22 pages are followed by 4 pages of miscellaneous notes including costs, possibly bills he has paid or needs to pay and other accounting details as well as people's names, phone numbers, notes which may possibly be about a ball team's various owners or possibly musings about a screenplay about a baseball team. An additional 6 pages of notes about Denmark and travel are penned at the rear so that they can be read starting from the verso of the notebook. This seems to be a source of inspiration for his work with notes describing such images as "The little red Boat that pushes icebergs out of the harbour", "A trip up the coast - the story of the 'Hanging' in a small village" and "The night on the boat - midnight sun. The water - calm, blue-green under the icebergs - distant shots of seal hunters - their small boats just visible near a low bank of fog - The enormous thunder of an iceberg as half of it breaks up - some of the icebergs are over ten stories high - monuments to impermanence, awesome, even terrifying...." A file of miscellaneous copies of documents provides insight into the contractual agreements and ownership of the screenplay for Zebulon" aka "Dead or Alive". The file includes copies of 8 contracts and letters of agreement dated from June 1979 through September 1979 between Rudy Wurlitzer, Gerald Dearing and others regarding the rights to "Zebulon" (aka "Dead or Alive"). The file contains a photocopy of an article entitled "The Structure Revealed by the Potlatch" about etchnographic accounts of Potlatch as well as the destruction of goods to shame a rival, with a note penned at the top: "G: This was the tribe I was telling you about - the ritual itself is called potlatching". Information which furthered Rudy Wurlitzer's understanding of the native-American characters in his script. The documents also include a 4-page "Script Reader's Sypnopsis" dated August 28, 1985 prepared by Penelope Bright of International Creative Management, Inc. She calls "Zebulon" a "Comedy About Dying" and grades the script as "excellent artistically and commercially". She states "This has got to be one of the more touching commentaries on death and dying that I have seen in some time; it has a zest for life, a funny, backwoods humor that appeals, I think, to most Americans; the characters are bent, goofy, twisted, full of loving hearts that can't always say so yet they are dear and endearing". This synopsis was prepared for Richard Wechsler as "director or producer". From the moment he had what neared a finished script, Rudy Wurlitzer sought to market the movie. In a February 26, 2005 article in the periodical "VICE", Jonathan Dixon relates that "Hal Ashby wanted to tackle it, but it didn't get on. Alex Cox came close, even getting Richard Gere to give verbal commitment, But Gere bowed out and the financing never shook down." In a mid-1980's autograph letter signed from Spain on the verso of a postcard depicting a Western movie set in Almira, the Indie film director of "Sid and Nancy" Alex Cox, who had previously worked with Rudy on "Walker" wrote: "Read Zebulon. It is a great script.... I would like to be the director if you don't want to shoulder that delightful task. But it should be made in CANADA... (there seems to be a scene from Pat Garrett in there & also one from Walker) What next? When do we start? Did you get your comic books?..." "All my love to you and Linn..." Signed "xx Alex".Though several actors and directors had expressed an interest, the project did not proceed further until sometime around 1989 when Indie film director Jim Jarmusch showed an interest. Rudy Wurlitzer and Jarmusch entered into a short ill-fated collaboration on the film, then tentatively titled "Ghost Dog" (a title which Jarmusch later used for a quite different movie). The collaboration soon fell apart and Jarmusch subsequently released his own Western "Dead Man", leading to a falling out with his former friend. A brief correspondence, mainly consisting of Rudy's retained signed copies of his letters which he faxed to Jarmusch, testify to the events. In a 2-page typed letter signed dated June 29th, Rudy Wurlitzer writes to "Dear Jim" (Jim Jarmusch) expressing his concerns about not having heard back from him "I waited as long as I could for you to get in touch with me, as I thought we had agreed upon, but now time seems to have run out and I'm heading North for a while.... it was impossible in two weeks to write a prose piece as we had talked about so I decided to first write out a 'map', no matter how flat and awkward, and then write a more poetic and autonomous piece afterwards." He then continues "... but then I stopped because it seemed clear when there was no communication from you that you had lost interest and for whatever reason didn't want to continue." Rudy expresses that while "there isn't anyone I respect more or would rather work with", he's left feeling depressed about it. In an August 25, 1989 fax of a letter typed on "Mystery Train, Inc." stationery, Jim Jarmusch tells Rudy that "I do want to proceed with GHOST DOG, but I think I need to write the script by myself.... For me to visualize something from the start, I think I have to use my own language...." Jarmusch goes on to explain that "What would be ideal for me would be to write a draft on my own, and to consult with you as I refine it. I don't know what position this would put you in re ZEBULON (though GHOST DOG is quite different)...." In a subsequent signed letter to Gerald Dearing, Rudy Wurlitzer writes: "I finally received a fax from Jarmusch which said, In effect, that he wants to go ahead with Zebulon, or Ghost Dog as he calls it, but that he wants to write it himself, using me to help him with the revisions. This, of course is totally unacceptable...." Rudy goes on to say that, if Jim Jarmusch presses him, he'd refund the "ten grand" advance and "chalk it up to another lesson learned too late...." He goes on to express his concerns: "I think we should proceed with Zebulon as fast as possible as I don't trust Jim not to do something similar...." He then goes on to speak of the other projects he's currently working on with "Alex" and "Greenberg". Signed "Love, Rudy". In a one-and-a-half page signed letter to Ira Schreck, Rudy Wurlitzer explains the situation and that he's now "unsure about what to do with Zebulon. There has been a certain amount of interest in it over the years but when Jim came into the picture I, of course, dropped all of that." Among the documents included is Rudy's application to register his treatment entitled "Ghost Dog" with the Writers Guild of America. Also included is the 23-page treatment itself. Titled "Ghost Dog" on the cover page with "By Rudy Wurlitzer" and his address penned beneath the title, the treament of the screenplay opens with the descriptive text about the Northwest territory setting, though now, Rudy has set the first scene aboard a train making its way to the town of "Machine", this now more closely resembling the opening scene of Jarmusch's "Dead Man" which opens with Johnny Depp riding a train toward the frontier town of Machine. Rudy introduces the American Indian character "Not Here Not There" who will take the protagonist who has been shot in the heart on his journey much in the same manner in which "Nobody" accompanied Johnny Depp's "William Blake" and which includes a scene where they paddled into a native Qwakiutl (i.e. Kwakiutl) village upon the shore of which stands a lone totem pole. The treatment ends with the lines: "Duff is still alive when the Canoe reaches the open sea. NOT HERE NOT THERE stands looking out to sea until the Canoe has disappeared." The effort to get "Zebulon" off the ground is represented by a November 5, 1989 19-page fax (page 15 is missing) detailing the expenses for a production of the film. "Zebulon" was to be filmed by "Together Brothers Productions" with Gerald Dearing as executive producer and Alex Cox as director. Further to this is a May 10, 1990 memorandum from Ira Schreck to Jarmusch's attorney Richard Heller responding to Heller's financial proposal for production of the film. It is apparent that as late as 1991, Wurlitzer is attempting to get some movement going on the film. In a Fax by "Galipoli" producer Ben Gannon of "View Films" dated March 11, 1991, Gannon informs Rudy that he'll read "Zebulon" over the weekend.On October 12th, 1994, Rudy Wurlitzer's attorney Karen Shatzkin of the firm of Shatzkin & Reiss, writes a typed letter signed to Jim Jarmusch's attorney Richard Heller informing him that Rudy Wurlitzer "has a likely production arrangement for Zebulon." She continues: "He has learned that Mr. Jarmusch has also pursued the idea of a Western-genre feature film and is apparently close to commencing production." Rudy appears to be worried that Jarmusch's film will incorporate elements of Zebulon that will make their way into that movie and his attorney politely requests that "Mr. Jarmusch make available a copy of the script of his film project for Mr. Wurlitzer's review". Signed "Karen Shatzkin". Finally, having now seen Jim Jarmusch's "Dead Man", Rudy expresses his disappointment in a draft of a letter: "Dear Jim" he writes "I recently had the experience of seeing Dead Man. Even though people had warned me about the way you lifted it's main theme from Zebulon - a man shot in the heart and living on borrowed time - I was nevertheless unprepared for how this act of piracy would affect me." This leaves him with no hope of seeing his own script produced: "Because of Dead Man's similarity to much of Zebulon, including the final scene where the dying hero floats off to sea in a canoe, the producers who have been committed to Zebulon for several years now feel they cannot go on with the project." Rudy mentions that "There are several lawyers who have volunteered to help me on a contingency basis...." and goes on to express how wounded he feels: "How could you have been so arrogant and cruel? Do you really think that everything you read and is told to you belongs to you?". According to Jonathan Dixon's article, for which he interviewed Alex Cox and others: "'He should have sued,' said Cox. 'I would have. Even studios don't operate that way.' Wurlitzer opted against it. Too toxic, he thought. Mostly, Wurlitzer said, more than any consideration of cash and credit, he was saddened that a friendship had ended." Again, quoting the article: "'I read Zebulon, and I'd read a lot of scripts at that point in my life,' said Lana Griffin, an editor, script consultant, and long time friend of Wurlitzer's. 'It was the best script I'd ever read. I was shocked.'"The screenplay on hold, Rudy Wurlitzer continued working on various projects until he finally decided to take it up again, this time reworking it into a novel. In a typed letter signed by Gerald Dearing dated Feburary 16, 2000 Wurlitzer is given sole ownership of all "print publication rights" to Zebulon.Now intent on reworking the screenplay into a novel, Rudy's first few drafts are still titled "Zebulon" though he will soon retitle the work "The Drop Edge of Yonder". The 11 typed manuscripts for the book include 9 different drafts. As with the screenplays, determining the chronology is difficult but made a little easier as a few of the drafts are dated and one can compare the changes made throughout subsequent drafts with the text which appears in the novel as it was published by "Two Dollar Radio" in 2008. Included are 3 copies of a draft titled "Zebulon", dated "February 2001" on the title page. Typed on three-hole binder paper, the unbound sheets are attached by brass tacks through the holes along the left edges of the pages. The first paragraph of these matching 110-page manuscripts reads: "A year before Zebulon was born, his father, Elijah, broke out of a Missouri jail, stole the warden's horse and rode west across Kansas, robbing two banks along the way just to keep his hand in. Then he made his way south across the scorching plains of Texas and down along the coast of Mexico to Vera Cruz where no one asked or cared who he was of where he came from." A highly altered version of this scene found its way into the final book on page 53. One of these identical copies of the manuscript is annotated and corrected by Rudy in ink and pencil throughout. The character which became "Delilah" was then a musician named "Natalia". The first paragraph of a partial untitled draft of the first 45 pages, dated February 25 - 2002 on the blank cover page, now reads: "Zebulon lay on his back in the middle of a stinking arroyo. He didn't see the stars shooting across the sky like silver bursts of rifle fire, nor the goat feeding on garbage or the two Mexican kids sitting on the lip of the arroyo waiting for him to die so they could steal his boots and the Army Colt 44 tied to his hip." A variation of this text appears on page 30 of the finished novel. A 169-page manuscript, titled "Dec. 10 Rough edit", opens with the identical paragraph. Now titled "The Drop Edge of Yonder", a draft of the manuscript which starts with the identical paragraph bears a quote from Edgar Alan Poe on the title page: "All that we see or seem / Is but a dream within a dream". This variant, with substantial differences from the finished novel, contains profuse editorial notations in red ink throughout. A subsequent draft, which incorporates the changes suggested in the editorial notations in the prior version, now consists of 274 pages. There is a 302 page manuscript draft titled "The Drop Edge of Yonder" without a quotation on the cover page with variations from the final novel. Although the first line is identical, there are subsequent minor differences to the first paragraph and several more throughout. In this draft, Rudy writes: "Before the deep snows of February had set in he had two frost bitten toes and an arrow in his shoulder from an Arapaho war party. Not least, he had been forced to suffer through the unexpected appearance of a French Canadian trapper and his Shoshone squaw who had staggered into his cabin in the middle of a raging blizzard." The ending in this draft reads: "Two years after Delilah sailed away with Captain Dorfheimer, portraits of Zebulon, as well as a dozen of the Photographer's landscapes of the Far West, were shown to wild acclaim in a New York gallery...." "The photograph was sold to the San Francisco museum where it was never shown, the paper having faded to such a degree that Zebulon's face had become blank." A fragment of the manuscript with pages numbered from 83 through 139 is a variant of the text which appears on pages 118 through 174 in the final version of the manuscript we have at hand. A group of loose pages from a draft of the manuscript, here numbered pages 178 through 290, is a variant of the text which appears on pages 186 to the end of the novel in the final version which follows.Nearing completion of his novel Rudy writes in a July 15th, 2006 e-mail to his friend, the editor Lana Griffin: "Thank you for your note about Delilah and the Count and Delilah's journey to Calabasas Springs with Zebulon. It touched on a real problem." Both were anxious to get there as the Count was to be hanged. "If she was so concerned about seeing the Count and unable to think of anything else, why would they stop so playfully along the way, make love, etc."... "So the problem is not slowing it down, but maybe speeding it up...." Typed on three sheets of 3-hole binder paper, are ideas for the "Last Act", "Take it slower. / They watch the Rhine lander several times. Getting closer. From the land. On the peninsula. / In the town, she delays going to the saloon...." "Bandy-legged man. THE DIALOGUE HAS TO BE BETER." ... "Maybe Stebbins gets killed earlier on. Maybe not. But then what to do with him in the saloon...." The only words typed on the third page, likely reflect Rudy's creative process: "EVER TRIED. / EVER FAILED. / NO MATTER. TRY AGAIN. FAIL AGAIN. FAIL BETTER."A last 306-page draft, the closest to the finished novel present in this archive, is bound in 2 parts with brass clips through holes along the left edges of the pages. The first part includes the title and pages 1 through 180 and the second part consists of pages 181 through 306. Replacing the earlier quote from Poe on the title page is a Buddhist quotation from the "Lankavatara Sutra", "Things are not as they appear. / Nor are they otherwise." This is the quote which was subsequently printed at the front of the published novel. Although this draft is well on its way to becoming the finished manuscript, there are still differences. The first 2 paragraphs read: "The winter that Zebulon set his traps along the Gila River had been colder and longer than any he had experienced, leaving him with two frost bitten toes, an arrow wound in his shoulder from a Crow war party and, to top it all off, the unexpected arrival of two frozen figures stumbling into his cabin in the middle of a spring blizzard more dead than alive. / Rather than waking him, the cold blast of wind from the open door became part of a recurrent dream: a long endless fall through an empty cloudless sky towards a storm-tossed sea. Come closer, towering waves howled, closer to a realm of fear and longing." Although the changes are subtle, one can clearly see the evolution of Rudy's text which moved towards a more lyrical succinct style when finally published.A superb archive which offers insight into the artistic process.The American experimental novelist & screenwriter Rudy Wurlitzer (born 1937) first started writing when working on an oil tanker when he was 17 years old. A descendant of Rudolph Wurlitzer who founded the Wurlitzer piano company, Rudy subsequently worked as secretary for the author Robert Graves who he credits with teaching him to "write short sentences". Settling in NYC in the 1960's he was a friend to Claes Oldenburg, Robert Frank and Philip Glass. With his wife, the photographer Lynn Davis, Rudy moved to upstate New York and also refurbished a cabin in Cape Breton. His highly experimental first novel "Nog" is considered a cult classic. He followed this with "Flats", "Quake", "Slow Fade", and "The Drop Edge of Yonder". He also wrote his memoir "Hard Travel To Sacred Places". Among his film projects, Rudy Wurlitzer wrote the screenplay for the cult-classic "Two-Lane Blacktop", Sam Peckinpah's "Pat Garrett & Billy The Kid", "Candy Mountain" which he co-directed with Robert Frank, and Bernardo Bertolucci's "Little Buddha".

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
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        The Loyola Jesus. (Loyola Marymount University)

      Los Angeles, Calif.: ca. 1970.(). Watercolor and gouache. 29 x 16 inches inches on board. Authenticated by the artist's son, Tony Sheets, on the verso. Design for the central portion of the large tapestry for Loyola University, Los Angeles (now Loyola Marymount University. Tapestry reproduced on inside back cover of: Millard Sheets. Masterpieces in Watercolor. Los Angeles: Dalzell Hatfield Galleries, circa 1970.

      [Bookseller: Wittenborn Art Books]
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        The Trumpet of the Swan.

      New York: Harper & Row, Publishers,, 1970. Pictures by Edward Frascino. Octavo. Original blue cloth, titles to spine in silver and gilt, author's facsimile signature in gilt to front cover, blue endpapers. With the dust jacket. Illustrated double page title page, black and white illustrations in the text. Spine lightly faded, very minor rubbing to extremities, faint foxing to fore edge; an excellent copy in the jacket with Doubleday bookseller's sticker to rear cover and slight creasing to spine ends. First edition, first printing. Presentation copy, inscribed by the author on the front free endpaper, "For Eric Lee, ex journalist, from E. B. White, ex-journalist". E. B. White had an extensive journalistic career, stating that, "I was a journalist first, an author second" (Aronson, p. 76). He published his first article in The New Yorker in 1925, joining the staff in 1927, and continued to contribute for almost six decades, his output enough to total "thirty-six pieces a year; or three per month" (Aronson, p. 72). The Trumpet of the Swan is White's third novel for children. John Updike wrote of it in his review that "we, and our children, are lucky to have this book" (New York Times, 28 June 1970).

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

        Hallelujah Suite. Psalm 150.

      New York: Kennedy Graphics, Mourlot Graphics, 1970-71. Distributed graphics by Alan Wofsy Fine Arts.(). 50 original bound lithographs (including images and calligraphy). Printed on Arches. One of the 240 numbered copies from the edition of 250. Original cloth binding and slipcase, each with gold embossed leather titles. 42 x 44 cm. page size. Prescott, 258-83.

      [Bookseller: Wittenborn Art Books]
 7.   Check availability:     Bibliophile     Link/Print  

        A Slipping-Down Life (Signed)

      NY: Knopf, 1970. The ffep. has been professionally restored. Overall, a stunning first edition of this, the author's scarce third book. Signed by the author on a bookplate that is affixed to the second free endpaper. . Signed by Author. First Edition. Hard Cover. Near Fine/Near Fine.

      [Bookseller: abookshop]
 8.   Check availability:     Biblio     Link/Print  

        A Slipping-Down Life

      New York: Knopf, 1970. First Edition [stated] 1st Printing. Cloth/Boards. Near Fine/Near Fine DJ. Stated First Edition. No remainder mark, no names or bookplates, spine gilt complete and bright, no stains or fraying or fading, not price-clipped [$4.95]. DJ with pinpoint of wear at upper tips, and small area of wear at two upper corners of spine. Inscribed by the author in 1990 on the title page.

      [Bookseller: Arroyo Seco Books]
 9.   Check availability:     Biblio     Link/Print  

        La Lombardia

      ROMA: EDITALIA, 1970. Rilegato. ECCELLENTE. 32 41. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 10.   Check availability:     Biblio     Link/Print  


      LONGANESI, 1970. ITALIANO 0,21 N.14 della collana, traduzione di Luca Pavolini, presentazione di Mario Monti, pagine brunite attorno ai testi causa tempo, brossura editoriale leggermente ingiallita, scolorita e con segni di usura da scaffalatura USATO

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


      CLUB DEGLI EDITORI, Sancasciano Val di Pesa 1970 - I CLASSICI ITALIANO Rilegatura editoriale in tutta similpelle marrone, ricca di cornici e fregi rossi e d'oro al piatto anteriore ed al dorso, piccola usura alla cima, pagine in ottimo stato di conservazione, con custodia in muto cartoncino usurato, con strappi e nastro adesivo

      [Bookseller: Biblioteca di Babele]
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        Cioran bouleversé par le récit d'un désespoir.

      - 1 lettre autographe signée 1 In-8 29/01/1970 Enveloppe jointe. bon Cioran répond à Yvon Belaval au sujet d'un de ses textes qui l'avait beaucoup frappé. "Il s'agit, vous l'avez deviné sans doute, de ces pages où, il y a quelques années, vous parliez d'un drame personnel avec un désespoir à la fois si direct et si pensé que j'en avais été bouleversé. C'était là un ton qu'on rencontre rarement chez les philosophes. Ma mémoire étant très mauvaise, j'ai oublié le titre et certains détails de cette saisissante confession. Mais je ne puis oublier l'impression qu'elle me fit. C'est comme si je l'avais lue hier. Vous comprendrez maintenant pourquoi j'ai vu une nécessité secrète dans votre témoignage inattendu". Philosophe roumain du pessimisme, du scepticisme et de la désillusion. [Attributes: Signed Copy]

      [Bookseller: Traces Ecrites]
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      EDB, BOLOGNA 1970 - GLI ESCLUSI ITALIANO N.2 della collana diretta da Andrea Canevaro, volume con nome Autore celato per sua volontà, pagine brunite da fattore tempo, brossura editoriale illustrata, con tracce di umidità soprattutto ai bordi ed al dorso e con segni di usura da scaffalatura

      [Bookseller: Biblioteca di Babele]
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      LONGANESI, 1970. ITALIANO 0,22 N.284 della collana, traduzione di Ugo Carrega, brossura editoriale illustrata, ingiallita, con segni di usura, strappetti al dorso e tracce di umidità, pagine con bruniture del tempo e traccia di umidità ai bordi USATO

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

        Portnoy's Complaint (Original screenplay for the 1972 film)

      Twentieth Century Fox / Chenault Productions, Beverly Hills, CA 1970 - Draft script for the 1972 film. An early example of the film's script, still slated to be a Twentieth Century-Fox production, with their imprint on the front wrapper.The fourth Roth novel (after "Goodbye, Columbus" in 1972) to be adapted to the screen, and the sole directorial effort for noted screenwriter Ernest Lehman ("North by Northwest," "The Sweet Smell of Success," "Sabrina," "West Side Story," The Sound of Music," and "Who's Afraid of Virginia Woolf?").Alexander Portnoy (Benjamin), sees a therapist and goes on one long tirade after another about his family, his childhood, his sexual fantasies and desires, his problems with women, and his obsession with his own Judaism. Set in New York. Blue titled wrappers. Title page present, dated August 3, 1970, with credits for screenwriter Lehman and novelist Roth. 150 leaves, with last leaf of text numbered 149. Mechanically reproduced on eye-rest green stock. Pages and wrapper Near Fine, bound internally with three gold brads.Weldon 1983. [Attributes: Soft Cover]

      [Bookseller: Royal Books, Inc., ABAA]
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        [Performance Broadside for:] GRAFT (AN ACTIVITY BY ALLAN KAPROW) ...

      [Kent, OH]: Kent State University, 1970. Folio broadside (53 x 40.5 cm; 21 x 16"). Printed on recto only, with design and text in gray and black. Folded to quarters, with some modest tanning along the center horizontal fold, otherwise about fine. A broadside inviting participants to engage in Kaprow's GRAFT, an 'activity' planned as part of the Kent State Creative Arts Festival, alongside presentations and projects by five other artists, including Robert Smithson. The broadside incorporates text ("hothouse greenery [/] fixed to bare January branches...) and a bold graphic. The 'activity' involved the decoration of trees on the campus with US currency. Kaprow revisited the 'activity' in 2007.

      [Bookseller: William Reese Company - Literature ABAA-]
 17.   Check availability:     Biblio     Link/Print  

        The Collected Edition. [Brighton Rock; It's a Battlefield; England Made Me; Our Man in Havanna; The Power and the Glory; The Heart of the Matter; The Confidential Agent; The Collected Stories; A Gun for Sale; The Ministry of Fear; The Quiet American; Stamboul Train; The End of the Affair; A Burnt-Out Case; The Man Within; The Third Man and Loser Takes All; The Comedians; Journey Without Maps; The Lawless Roads; Travels with my Aunt; The Honorary Consul; The Human Factor.]

      London: William Heinemann and The Bodley Head, 1970–82 - 22 volumes, octavo. Original green boards, titles gilt to spines, lilac endpapers, top edges dyed green. With the dust jackets. An excellent set in the very lightly rubbed jackets, with the occasional minor mark or small tear. First collected edition; each volume contains a new introduction by the author. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 18.   Check availability:     ZVAB     Link/Print  

        Adorno - Kleine Sammlung von Widmungsexemplaren / Autorenexemplaren aus der Bibliothek des Philosophen Karl-Heinz Haag / Die Sammlung enthält: 1. Theodor W. Adorno - "Drei Studien zu Hegel" (es 171 Seiten) - mit einer sehr persönlichen, handschriftlichen Widmung von Adorno ["Meinem lieben Karl Heinz Haag als ehrliches Zeichen herzlicher Verbundenheit von seinem Adorno - Frankfurt, 20.September 19363] und mit der gedruckten Widmung an Haag. Mit Annotationen und Anstreichungen von Haag im Text. / 2. Theodor W. Adorno - Aspekte der Hegelschen Philosophie. (59 Seiten) - Mit handschriftlicher Widmung von Adorno (voll signiert) an Haag. [Meinem lieben Karl-Heinz Haag in herzlicher Verbundenheit - Theodor W. Adorno - Frankfurt, 14. Mai 1957] / 3.

      Frankfurt u.a., Suhrkamp / Institute of Social Research / Kohlhammer etc., 1940 - c.1970. - Octavo. 466 Seiten (alle drei Publikationen). Original Softcover. Sehr guter Erhaltungszustand aller Publikation. Karl Heinz Haag (* 17. Oktober 1924 in Höchst am Main † 14. April 2011 in Wiesbaden) war ein deutscher Philosoph. Nach dem Studium der Philosophie und Theologie an der von den Jesuiten getragenen Philosophisch-Theologischen Hochschule Sankt Georgen promovierte er 1951 bei dem aus dem Exil zurückgekehrten Max Horkheimer an der Johann-Wolfgang-Goethe-Universität in Frankfurt am Main mit einer Arbeit über Die Seinsdialektik bei Hegel und in der scholastischen Philosophie (veröffentlicht 2012). 1956 habilitierte er sich dort mit einer Arbeit über die neuere Ontologie. In den folgenden Jahren lehrte Haag zunächst als Privatdozent und später als außerplanmäßiger Professor in den klassischen Fächern der Philosophie. Seit 1972 widmete er sich ausschließlich der philosophischen Forschung. Karl Heinz Haag lebte in Frankfurt-Höchst. (Wikipedia) Theodor W. Adorno ( born Theodor Ludwig Wiesengrund; September 11, 1903 – August 6, 1969) was a German philosopher, sociologist, and composer known for his critical theory of society. He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer and Herbert Marcuse, for whom the works of Freud, Marx, and Hegel were essential to a critique of modern society. He is widely regarded as one of the 20th century's foremost thinkers on aesthetics and philosophy, as well as one of its preeminent essayists. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951) and Negative Dialectics (1966)—strongly influenced the European New Left. Amidst the vogue enjoyed by existentialism and positivism in early 20th-century Europe, Adorno advanced a dialectical conception of natural history that critiqued the twin temptations of ontology and empiricism through studies of Kierkegaard and Husserl. As a classically trained pianist whose sympathies with the twelve-tone technique of Arnold Schoenberg resulted in his studying composition with Alban Berg of the Second Viennese School, Adorno's commitment to avant-garde music formed the backdrop of his subsequent writings and led to his collaboration with Thomas Mann on the latter's novel Doctor Faustus, while the two men lived in California as exiles during the Second World War. Working for the newly relocated Institute for Social Research, Adorno collaborated on influential studies of authoritarianism, antisemitism and propaganda that would later serve as models for sociological studies the Institute carried out in post-war Germany. Upon his return to Frankfurt, Adorno was involved with the reconstitution of German intellectual life through debates with Karl Popper on the limitations of positivist science, critiques of Heidegger's language of authenticity, writings on German responsibility for the Holocaust, and continued interventions into matters of public policy. As a writer of polemics in the tradition of Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture. Adorno's posthumously published Aesthetic Theory, which he planned to dedicate to Samuel Beckett, is the culmination of a lifelong commitment to modern art which attempts to revoke the "fatal separation" of feeling and understanding long demanded by the history of philosophy and explode the privilege aesthetics accords to content over form and contemplation over immersion. (Wikipedia) [Attributes: Soft Cover]

      [Bookseller: Woodpecker Books]
 19.   Check availability:     AbeBooks     Link/Print  

        The Dictionary of Garden Plants

      Arcadia Press. Arcadia Press, London, 1970. Hardcover. No. 30 of a LIMITED EDITION of 265 copies BOUND BY ZAEHNSDORF of London and SIGNED by both authors, full green morocco binding with flame motif on the front cover, all edges gilt, marbled endpapers.  A fine copy in the original cloth-bound lined Solander box, the latter being slightly finger-marked and dirt marks, but otherwise clean and sound. A stunning copy of a rare fine book . Fine. Hardcover. 1st Edition. 1970.

      [Bookseller: The Plantagenet King]
 20.   Check availability:     Biblio     Link/Print  

        V TRE 8 (i.e. 9) John, Yoko & Flux

      Fluxus, New York 1970 - First edition. The ninth installment of this fluxus newspaper (although numbered 8). A double-sided poster containing 123 black and white photographs from Flux Fest in New York in 1970. Loose caption sheet laid in as called for. Poster measures 22 x 34 when opened. Folded into eighths. A clean attractive copy. Art periodical. [Attributes: First Edition]

      [Bookseller: Derringer Books, Member ABAA]
 21.   Check availability:     AbeBooks     Link/Print  

        Fantastic Mr. Fox. Illustrations by Donald Chaffin.

      New York: Alfred A. Knopf, 1970 - Octavo. Original cream boards, titles to spine green, Mr Fox motif to front cover, green endpapers. With the dust jacket. A fine copy in the near fine dust jacket with just a few minor marks to the pack panel. Black and white illustrations by Donald Chaffin to the text. First edition, first printing. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 22.   Check availability:     ZVAB     Link/Print  

        Le château cathare. Illustrations de Adrien DAX.

      Veilhes, Le Bouquet, typographie et tirage de Gaston Puel, juin 1970. - 13 x 16 cm, 32 p., ill. En ff., couv. imprimée à rabats, qques rares piq., chemise et étui cartonnés. Très bel exemplaire. Editon originale, tirage à 50 exemplaires numérotés, un des 39 sur guerimand voiron jade (après 1 sur Puymoyen et 10 sur Rives avec un dessin original de Adrian Dax. Exemplaire justifié et signé au crayon par l'auteur, l'illustrateur et l'éditeur au colophon. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: SOLSTICES RARE BOOKS]
 23.   Check availability:     ZVAB     Link/Print  

        Going Down

      Holt Rinehart and Winston, New York 1970 - First Edition/First Prnting. Hardcover. Fine book in a near fine Dust Jacket, with light wear to the spine tips and a short tear to the top back flap. Signed and humorously inscribed by the author on the front flyleaf, in 1974, to poet Jonathan Williams: "NYC 1974 For Jonathan Williams- Hang on to this. It may be the only copy in North Carolina. Or South! With Best Wishes" A notable associaton. [Attributes: First Edition; Signed Copy]

      [Bookseller: MDS BOOKS]
 24.   Check availability:     AbeBooks     Link/Print  

        Bicycle and Other Poems

      University of Queensland Press, St. Lucia 1970 - First Australian and true first edition of his very scarce first book. Near fine in cardboard covered decorated wraps. Inscribed to John Traine (with Traine's name to ffep). Uncommon book, especially inscribed. Signed by Author [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Derringer Books, Member ABAA]
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        Fantastic Mr Fox

      New York: Alfred A. Knopf,, 1970. Illustrations by Donald Chaffin. Octavo. Original cream boards, titles to spine green, Mr Fox motif to front cover, green endpapers. With the dust jacket. Black and white illustrations by Donald Chaffin to the text. A fine copy in the near fine dust jacket with just a few minor marks to the pack panel. First edition, first printing.

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

        Myra Breckinridge (Original screenplay for the 1970 film)

      Los Angeles: Twentieth Century Fox, 1970. Draft script for the 1970 film. Based on the 1968 novel by Gore Vidal. One of the key twentieth century films about Hollywood, and a prescient one in terms of LGBT interests, which at this time received almost no attention from major studios. Based on the 1968 novel by Gore Vidal. Myron Breckinridge undergoes a sex change operation and upon completion, promptly moves to Hollywood to enroll in her Uncle Buck's acting academy, where it becomes clear the reason for her sex change was to claim her half of her uncle's inheritance. Self wrappers. Title page integral with the first page of the text. 147 leaves, with last leaf of text numbered 146. Mimeograph on eye-rest green stock. Pages Near Fine, save for the first and last few leaves, which have been worn to around Very Good condition, bound with a gold brad.

      [Bookseller: Royal Books, Inc.]
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        Zettels Traum.

      Goverts, Stuttgart 1970 - Faksimile-Ausgabe des einseitig beschriebenen, 1334 Blätter umfassenden Manuskripts. 3 Blatt, 1.330 S., 1 Blatt. Grünes Original-Leinen mit Titelschild und Folienumschlag im Original-Schuber. Schuber fleckig. Sonst gut erhalten. Erste Ausgabe. Eines von 2000 Exemplaren. Im Druckvermerk vom Verfassers signiert. Wilpert/Gühring 2, 49. Bock 1.1.20. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Schaper]
 28.   Check availability:     ZVAB     Link/Print  

        Ostanovka v pustyne: stikhotvoreniya i poemy. [Translates: Halt in the Wilderness - Poems by Joseph Brodsky].

      The very rare First Edition. New York, Islatelctvo imeni chekhova (Chekhov Press), 1970. 14 x 22 cm. 228 pages. Original Softcover. Very good+ condition in protective mylar. Minor lesion to upper cover. Otherwise excellent. No names inside, no markings. First Edition of Brodsky's second book of poetry. Iosif Aleksandrovich Brodsky; (24 May 1940 - 28 January 1996) was a Russian and American poet and essayist. Born in Leningrad in 1940, Brodsky ran afoul of Soviet authorities and was expelled („strongly advised" to emigrate) from the Soviet Union in 1972, settling in the United States with the help of W. H. Auden and other supporters. He taught thereafter at Mount Holyoke College, and at universities including Yale, Columbia, Cambridge and Michigan. Brodsky was awarded the 1987 Nobel Prize in Literature „for an all-embracing authorship, imbued with clarity of thought and poetic intensity". He was appointed United States Poet Laureate in 1991. In 1963, Brodsky's poetry was denounced by a Leningrad newspaper as „pornographic and anti-Soviet". His papers were confiscated, he was interrogated, twice put in a mental institution and then arrested. He was charged with social parasitism by the Soviet authorities in a trial in 1964, finding that his series of odd jobs and role as a poet were not a sufficient contribution to society. They called him „a pseudo-poet in velveteen trousers" who failed to fulfill his „constitutional duty to work honestly for the good of the motherland". The trial judge asked „Who has recognized you as a poet? Who has enrolled you in the ranks of poets?" - „No one," Brodsky replied, „Who enrolled me in the ranks of the human race?" Brodsky was not yet 24. For his „parasitism" Brodsky was sentenced to five years hard labor and served 18 months on a farm in the village of Norenskaya, in the Archangelsk region, 350 miles from Leningrad. He rented his own small cottage, and though it was without plumbing or central heating, having one's own, private space was taken to be a great luxury at the time. Basmanova, Bobyshev and Brodsky's mother, among others, visited. He wrote on his typewriter, chopped wood, hauled manure and at night read his anthologies of English and American poetry, including a lot of W. H. Auden and Robert Frost. Brodsky's close friend and biographer Lev Loseff writes that while confinement in the mental hospital and the trial were miserable experiences, the 18 months in the Arctic were among the best times of Brodsky's life. Brodsky's mentor, Anna Akhmatova, laughed at the KGB's shortsightedness. „What a biography they're fashioning for our red-haired friend!" she said. „It's as if he'd hired them to do it on purpose." In his introduction to Brodsky's Selected Poems (New York and Harmondsworth, 1973), W. H. Auden described Brodsky as a traditionalist lyric poet fascinated by „encounters with nature, [...] reflections upon the human condition, death, and the meaning of existence". He drew on wide-ranging themes, from Mexican and Caribbean literature to Roman poetry, mixing „the physical and the metaphysical, place and ideas about place, now and the past and the future". Critic Dinah Birch suggests that Brodsky's " first volume of poetry in English, Joseph Brodsky: Selected Poems (1973), shows that although his strength was a distinctive kind of dry, meditative soliloquy, he was immensely versatile and technically accomplished in a number of forms." (Wikipedia)

      [Bookseller: Woodpecker Books]
 29.   Check availability:     Direct From Seller     Link/Print  

        Atlas der Fluoreszenzangiographie des Augenhintergrundes : Ins Dt. übertr. von P.-D. Steinbach. Mit e. Geleitw. von A. Nover.

      Stuttgart ; New York : Schattauer, 1970. 201 S., Abb. mit Text : Mit 247 Abb., davon 69 mehrfarb. ; 4°, Werkstoff, Goldprägungen, Original Schutzumschlag, dieser jedoch mit Mängeln, Stempel im Vorsatz, antiquarisch gut erhaltenes Exemplar, B18419 a Medizin, Medizin; Wissenschaft; Gesundheit; Heilverfahren;, Humanmedizin; Wissenschaft; Forschung; Medikamente; Operationen; Chirurgie; Innere Medizin; Onkologie; Dermatologie; Zahnheilkunde; Homöopathie; Orthopädie; Psychologie; Pathologie;

      [Bookseller: Antiquariat Daniel Viertel]
 30.   Check availability:     Link/Print  

        Michel Foucault ne se sent pas prêt à travailler sur Nietzsche.

      - 1 lettre autographe signée 2 In-4 pliures Michel Foucault s'excuse de n'avoir pu répondre plus tôt, étant tombé "dans un bourbier d'empoisonnements" à son retour à Paris. "Bien sûr j'aimerais beaucoup dire oui, puisque c'est vous, puisque c'est Nietzsche. Mais pour danser, je me sens les jambes bien raides, ces temps-ci. Et puis je suis très mal à l'aise pour parler d'une oeuvre, d'un auteur : ce sur quoi j'ai envie maintenant de me cerner ce qui me reste de tête, c'est précisément la question : qu'est-ce que c'est que ça, un auteur? Vous me direz que Nietzsche c'est le cas privilégié. Bien sûr mais 1. je ne pense pas qu'on puisse s'exercer à ce genre dans un travail collectif 2. je ne suis pas prêt à faire ces pirouettes dans les délais prévus [.]". Philosophe. Professeur au collège de France, titulaire de la chaire d'Histoire des systèmes des pensées (1970-1984). [Attributes: Signed Copy]

      [Bookseller: Traces Ecrites]
 31.   Check availability:     AbeBooks     Link/Print  

        Rommel Drives on Deep into Egypt: Poems

      New York::: Delacorte,,, 1970.. . A Fine tight copy in a Fine unclipped dust jacket. Rommel Drives On Deep into Egypt collects eighty-five poems and was Brautigan's sixth collection of poetry; his eighth poetry book publication..

      [Bookseller: Gregor Rare Books]
 32.   Check availability:     Biblio     Link/Print  

        A Farily Honourable Defeat - SIGNED with the rare wrap-around band

      London: Chatto and Windus, 1970. A first edition, first printing published by Chatto and Windus in 1970. A fine book without inscriptions SIGNED and inscribed 'to Chantel and Brian/the 13th for your collection/Iris Murdoch'. In fine unclipped wrapper with the rare Collector's Editions Club Choice. Rare.

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

        Christmas gifts being carried by Choo Choo Train in the snow

      Choo Choo Train in the Snow WALT DISNEY STUDIOS. Original hand-painted artwork depicting Christmas gifts being carried by Choo Choo Train in the snow. Ca. 1970. Gouache on artist board. Image size: 6 x 10 3/4 inches. In fine condition. Matted, framed and glazed.

      [Bookseller: David Brass Rare Books, Inc.]
 34.   Check availability:     Biblio     Link/Print  

        IMMAGINI CATTURATE. Sei poesie di Cesare VIVALDI e cinque incisioni di Emilio SCANAVINO.

      Pesaro-Milano, La Pergola, Edizioni d'arte, 1970. In folio max. (mm. 680 x 490), astuccio editoriale in plastica rossa contenente 9 fogli: frontespizio - titoli delle poesie di Cesare Vivaldi (“Per Emilio Scanavino / Ritorno dal Vietnam / L'estate / La saliva dei bimbi / Una alle spalle / Amo Milano”) - testi delle composizioni poetiche (stampate in rosso) e colophon, con 5 incisioni a colori, numerate 1/100 e firmate dall'artista genovese (1922-1986), celebre pittore e scultore. Pregevole edizione in tiratura di 120 esemplari numer.: novanta da 1 a 90 - dieci “ad personam” da 90 a 100 - venti da I a XX. Le incisioni sono state tirate a Pesaro nello studio di Piergiorgio Spallacci, su carta a mano delle Cartiere Magnani di Pescia. Un'opera multipla in nero di Emilio Scanavino (numerata e firmata) è applicata sul fronte dell'astuccio editoriale, disegnato da Gio Rossi. Nel ns. esemplare tale multiplo, con il n. 99/100, porta delle incrinature e una spaccatura su un angolo dell'astuccio. Sulla pagina di colophon firma autografa del poeta Vivaldi. A parte i difetti dell'astuccio, il ns. esemplare, n. 1, è molto ben conservato.

      [Bookseller: Libreria Malavasi sas]
 35.   Check availability:     Biblio     Link/Print  

        Military][Vietnam War]photo Album Depicting United States Army Soldiers and Bands.

      Vietnam 1970 - 20 loose, trimmed, gummed commercial album leaves, now inserted into archival sleeves and housed in a three ring box measuring 11½" x 10½". 78 photographs, all but two in color, measuring 3½" x 3½" or 5" x 3½". Contents generally near fine or better, a few images faded, one with a soil spot. An album featuring soldiers at play at a base in Vietnam. The shoulder patches identify the men as members of the 18th Engineer Brigade but with no captions we are unable to learn much more about them. From the appearance of the soldiers and their equipment, it appears that leadership of their detachment may have been a little lacking. There's nary a dull photo in the group: dazzling dancers are depicted next to musicians in matching red and white pin-striped jackets. Several show the soldiers on stage, either dancing with, or borrowing instruments from, the musicians. Warning: the dancers are nude in some shots, and a couple were taken a bit too close to the stage, from ground level. Other interesting photos show the base with choppers in flight, internal views of the barracks, African American soldiers, and black and white soldiers goofing around together. This item is offered by Langdon Manor Books, LLC, antiquarian booksellers. Please do not hesitate to contact us for additional information and/or photos and we will respond promptly. We package our items carefully, ship daily, and have a no hassle returns policy--your satisfaction is guaranteed. We are members of the Antiquarian Booksellers' Association of America (ABAA) , the International League of Antiquarian Booksllers (ILAB) and the Independent Online Booksellers Association (IOBA) and adhere to their rules of ethics.

      [Bookseller: Langdon Manor Books]
 36.   Check availability:     AbeBooks     Link/Print  

        [Military][Vietnam War]photo Album Depicting United States Army Soldiers and Bands.

      Vietnam. 1970. 20 loose, trimmed, gummed commercial album leaves, now inserted into archival sleeves and housed in a three ring box measuring 11½” x 10½”. 78 photographs, all but two in color, measuring 3½” x 3½” or 5” x 3½”. Contents generally near fine or better, a few images faded, one with a soil spot. An album featuring soldiers at play at a base in Vietnam. The shoulder patches identify the men as members of the 18th Engineer Brigade but with no captions we are unable to learn much more about them. From the appearance of the soldiers and their equipment, it appears that leadership of their detachment may have been a little lacking. There's nary a dull photo in the group: dazzling dancers are depicted next to musicians in matching red and white pin-striped jackets. Several show the soldiers on stage, either dancing with, or borrowing instruments from, the musicians. Warning: the dancers are nude in some shots, and a couple were taken a bit too close to the stage, from ground level. Other interesting photos show the base with choppers in flight, internal views of the barracks, African American soldiers, and black and white soldiers goofing around together. This item is offered by Langdon Manor Books, LLC, antiquarian booksellers. Please do not hesitate to contact us for additional information and/or photos and we will respond promptly. We package our items carefully, ship daily, and have a no hassle returns policy--your satisfaction is guaranteed. We are members of the Antiquarian Booksellers' Association of America (ABAA) , the International League of Antiquarian Booksllers (ILAB) and the Independent Online Booksellers Association (IOBA) and adhere to their rules of ethics. .

      [Bookseller: Langdon Manor Books LLC]
 37.   Check availability:     Biblio     Link/Print  

        [Photo Album]: Egypt Travel Photos

      Egypt, 1970. Near Fine. Quarto. Brown plastic photo album with gold decorations measuring 10" x 11". Contains 138 color photographs measuring 3.5" x 4.5" with some captions. Near fine with fine photographs.A photo album kept by an American woman after a trip to Egypt with her husband in the late 1970s. The album consists of travel photography as well as clippings from brochures about the places they visited. In the beginning of the album a headline clipped from one pamphlet reads, "An Unforgettable Week in Eternal Egypt" in bold green letters. This is followed by photos of their hotel, Mena House Oberoi, which overlooks the pyramids and the Sphinx just outside Cairo. The hotel claims to be "modern" and "first class" boasting, "[the hotel] is as comfortable and efficient as any you would find in a modern U.S. hotel." The album continues with tours on camelback of the pyramids and Sphinx. These photos show the beauty of the desert and the ancient city. The album also depicts the ancient monuments and hieroglyphics which have signs warning tourists not to touch the walls as they go through. They spent time in the city of Cairo as well going to markets, government buildings, and the history museum which features photos of ancient Egyptian sarcophagi. One of the final sections of the album show a cruise on the Nile which includes photos of passing ships, the riverbanks, and Egyptian men sailing.An interesting collection of travel photography taken by an American couple in Egypt.

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

        Night Drive.

      Bow, Crediton, Devon: Richard Gilbertson,, 1970. Octavo. original green card wrappers stamped as "simulated pony-skin", sewn at the fold, titles gilt to front. Partial toning to front wrapper, otherwise fine. First edition, sole impression, one of 100 copies printed, and one of 55 with a poem inscribed in full in the author's manuscript facing the half-title, each one signed and dated on the colophon. The first three copies had all the poems in manuscript and were unbound, copies four to 55 were bound as here in "simulated pony-skin", with four to 20 containing "The Dream" in manuscript, 21 to 30 containing "Night Drive", and 31 to 55 containing one of the other twelve poems published here. This copy is number 33 and has the poem "Undine". This limited edition was published as part of Gilbertson's Manuscript Series, which also produced similar editions for poets such as Ted Hughes, Kathleen Raine, Tom Gunn, George Mackay Brown, and Peter Redgrove, though Heaney's Night Drive is by today far the most coveted. The poems were selected from Heaney's first two collections, Death of a Naturalist (1966) and Door into the Dark (1969), with the exception of the poem "Wedding Day" which appears here for the first time.

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

        I promessi sposi

      VICENZA: Editrice R. A. D. A. R. - Padova, 1970. Brossura. DISCRETO. 13,5 19,3. Narrativa moderna USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 40.   Check availability:     Biblio     Link/Print  

        JAZZ - Podium 3. Jahrgang 1954 bis 19. Jahrgang 1970 - jeweils 12 Hefte (Januar bis Dezember) in 16 Bänden KOMPLETT !

      Stuttgart, Jazzpodium Verlag 1954, 1970 - mit sehr vielen fot. Abbildungen und Werbeanzeigen. * Vollständige Reihe der Jahrgänge (mit allen Titelbildern eingebunden im festen Halbleinwand-Einband mit aufgeklebtem Rückenschild), die Jahrgänge 1964/1964 jeweils als Doppeljahrgang gebunden. ** bestoßen. ANY QUESTIONS ?? Please don t hesitate to ask for details !! ++ Visa & Mastercard accepted ++ Sprache: Deutsch Gewicht in Gramm: 15000 OLwd. (mit RSch.), ca. 240 S., 4° (= ca. 32 x 25 cm) [Attributes: First Edition; Hard Cover]

      [Bookseller: Melzers Antiquarium]
 41.   Check availability:     ZVAB     Link/Print  

        Alt-Berlin, Osten. Gezeigt wird ein Berliner Kanal ( Landwehrkanal ? ) mit Schuten und Schiffen. Im Hintergrund eine Kirche mit hohem spitzen Kirchturm. Schwarz-weißes Aquarell auf Bütten-...

      Berlin 1970 (...papier. Links unten mit *Kohlhoff (19)70 * signiert und datiert. )Blattmaß ca. 42 x 60 cm ( Höhe x Breite ). Wahrscheinlich ein Motiv am Landwehrkanal. Das Blatt verso von Kohlhoff mit *Alt-Berlin, Osten * in Bleistift bezeichnet. Das Blatt mit Randläsionen und zu den Außenrändern hin teils etwas angeknickt. Verso mit Resten alter Montierung. >>>Walter Kohlhoff ( *1906 Berlin – 1981 ebenda ). W. Kohlhoff war über 20 Jahre lang Vorstandsmitglied des Vereins Berliner Künstler. Maler urbaner Landschaften Berlins und seiner Umgebung. Kohlhoff zeigt seine Stadtbilder menschenleer und verleiht ihnen somit teils einen denkmalhaften Charakter. In seinen Arbeiten wendet er sich vor allem den ruhigen Orten der Großstadt wie auch Hinterhöfen, Großstadtdächern und abgelegenen Arealen wie Seitenstrassen, Kleingärten, Bahngleisen, Fabrikanlagen etc.. Er malte im Rahmen einer späten Neusachlichkeit. Dies gilt auch für seine anderen Motive wie Bilder aus den Alpen, Landschaftsstudien, Stilleben. Ferner malte er Porträts, Selbstporträts und Aktzeichnungen.<<< ( Weitere Bilder auf Anfrage – further pics at request ) ( Artikelnumer 15799 ) Versand D: 5,00 EUR Walter Kohlhoff, Neue Sachlichkeit, Berlin, Berliner, Landwehrkanal, Osten, Ostberlin, Schiffe, Schuten, Kirche, Kanal Google, signiert, datiert, Aquarell

      [Bookseller: Antiquariat Friederichsen]
 42.   Check availability:     Link/Print  

        One Hundred Years of Solitude

      Harper and Row, 1970. Hardcover. Very Good/Very Good. Harper and Row Publishers, New York 1970. First Edition / First Printing. First Edition stated on the copyright page. No numberline at the last page. Cloth boards. No exclamation point at the first paragraph of the front flap. Book Condition: Very Good, spots at the front board, top edge stain. Name at the front endpaper. Dust Jacket Condition: Very Good, shelf wear, chipping. Wrapped in a new removable mylar cover.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
 43.   Check availability:     IOBABooks     Link/Print  


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