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Blue Valentines. Original holograph draft manuscript for the title song from his album Blue Valentine, 5 pages, 4to, written with a blue felt-tipped pen, unsigned. (No date, but 1978)

WAITS, Tom A letter of provenance is included with the manuscript, which is lightly soiled, but otherwise in very good condition. A letter of provenance is included with the manuscript, which is lightly soiled, but otherwise in very good condition Blue Valentine was recorded in June and July of 1978, and was released in September with cover photographs of Waits and the soon-to-be-famous Jones, who was referred to as "the mysterious blonde," and a photograph of Chuck E. Weiss - the soon-to-be-famous subject of Jones's hit "Chuck E's In Love" - on the inner sleeve. Waits, who was living at the notorious Tropicana Motel in LA at the time, met Jones at the Troubadour in 1977, and the two singer-songwriters began a relationship that lasted almost two years, becoming the stuff of rock and roll legend - a legend both artists have refused to nurture. Jones' eponymous debut album was released in March 1979, and in the summer Jones went on tour in America and Europe with Waits accompanying her. Waits, however, was at a low point in his career - Blue Valentine, like his previous albums, had met with only limited success, and he was disillusioned with the entire music business, while Jones had achieved almost instant stardom. Catapulted to success following her performance of "Chuck E's In Love" on Saturday Night Live on April 7, 1979, and the attention it brought her first album, Jones was nominated for five Grammy Awards for Record of the Year; Best Pop Vocal Performance, Female; Best Rock Vocal Performance, Female; Song of the Year ("Chuck E.'s in Love"); and Best New Artist, which she won at the January 1980 ceremony. She was also voted Best Jazz Singer by Playboy and covered by Time magazine. Waits and Jones split up in the fall of 1979, and in January 1980, Waits moved to NYC. Jones was distraught, and turned her heartbreak into the songs on her next album, Pirates. Waits soon met Kathleen Brennan, whom he married in August 1980, an event that marked a turning point in Waits' life and music. After the album was released, "Waits told Circus that most of the ?stories' on Blue Valentine ?took place in Los Angeles in the last few months." The song "Wrong Side of the Road" was " half an account of Waits' wild romance with Rickie Lee." - Barney Hoskyns, Lowside of the Road: A Life of Tom Waits (N. Y.: Broadway Books, 2009), pp. 207-209. "Blue Valentines" is the tormented lament of a fugitive from a former love, whose memories and feelings of guilt he can't escape: "She sends me blue valentines / All the way from Philadelphia / To mark the anniversary / Of someone that I used to be / And it feels just like there's / A warrant out for my arrest / Got me checkin in my rearview mirror / And I'm always on the run / That's why I changed my name / And I didn't think you'd ever find me here." In this early draft version of the song, the stanza that is published as: "Why do I save all of this madness / In the nightstand drawer / There to haunt upon my shoulders / Baby I know / I'd be luckier to walk around everywhere I go / With a blind and broken heart / That sleeps beneath my lapel" reads: "I'd be luckier to walk around w/ polio / than a blind & broken heart / that sleeps beneath my lapel." The original version, however disturbing, clearly makes more sense than the published version, which appears to lack a critical counterpart: the singer already walks around with "a blind and broken heart", but exactly what is the alternative that would render this "luckier"? Another significant revision occurs in the last stanza of the song, which as published reads: "And I cut my bleedin heart out every nite / And I die a little more on each st. valentines day." In the present manuscript, these lines are: "I'd cut my bleedin' heart out if only I had a knife / to show you / prove to you / so you'd see you're not the only one that had to pay." In an interview in 1981, discussing "Kentucky Avenue", another song from Blue Valentine, Waits said "My best friend, when I was a kid, had polio. I didn't understand what polio was. I just knew it took him longer to get to the bus stop than me. I dunno. Sometimes I think kids know more than anybody. I rode a train once to Santa Barbara with this kid and it almost seemed like he lived a life somewhere before he was born and he brought what he knew with him into this world and so." His voice fades off for a moment, then, ".It's what you don't know that's usually more interesting. Things you wonder about, things you have yet to make up your mind about. There's more to deal with than just your fundamental street wisdom. Dreams. Nightmares." (Source: "Tom Waits: Waits And Double Measures" Smash Hits magazine by Johnny Black. March 18, 1981). Blue Valentine introduced the electric guitar to Waits' music, most notably on the title song, which he sang a solo played by Ray Crawford. On his next album, Heartattack and Vine (1980), he would adopt his signature "junkyard orchestral" instrumentation which has so delighted his admirers. In 2011, Waits was inducted into the Rock and Roll Hall of Fame.
The Poems by John Ashbery. Prints by Joan Mitchell [with:] Permanently by Kenneth Koch. Prints by Alfred Leslie [with:] Odes by Frank O'Hara. Prints by Michael Goldberg [with:] Salute by James Schuyler. Prints by Grace Hartigan

The Poems by John Ashbery. Prints by Joan Mitchell [with:] Permanently by Kenneth Koch. Prints by Alfred Leslie [with:] Odes by Frank O’Hara. Prints by Michael Goldberg [with:] Salute by James Schuyler. Prints by Grace Hartigan

ASHBERY, John, et al. Four volumes, folios, illustrated with original screen-prints, original cloth-backed illustrated paper over boards, acetate dust jackets, publisher's cloth slipcase. Very fine set. First edition. One of 200 numbered copies signed by the authors and the artists from a total edition of 225 (the 25 contributors' copies were not signed). Each volume includes five original color prints on ivory wove handmade Hahnemühle paper made directly on the screens by the individual artists. "Abstract expressionist artists . . . were not particularly involved with printmaking or encouraged to create artists' books. . . . Another significant and undervalued exception . . . are four oversize books by the New York School of poets, each paired with large, colorful screen-prints by four second-generation abstract expressionist artists. . . . Each bound volume in the untitled boxed set contains five screen-prints, including the title page and covers. This is Hartigan's only book illustrated with original prints." "These four volumes - The Poems, Permanently, Salute, and Odes - were a collaboration between four leading artists of the second-generation of abstract expressionist painters and four of their poet friends of the New York School. The screen print medium that was chosen was the perfect vehicle to convey painterly gesture and saturated color. Along with 21 Etchings and Poems (1960) published by the Morris Gallery, N.Y., these four volumes published by the Tiber Press were the only distinguished artists' books containing abstract expressionist works created during the 1950s." - Robert Flynn Johnson, Artists' Books in the Modern Era 1870-2000. The Reva and David Logan Collection of Illustrated Books. (London): Thames & Hudson, Fine Arts Museums of San Francisco, (2001), pp. 43, 226-227; item 142. Jerry Kelly, Riva Castleman, and Anne H. Hoy, The Best of Both Worlds: Finely Printed Livres d'Artistes, 1910-2010 (N. Y.: & Boston: The Grolier Club & David R. Godine, (2011), item 38.
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AKHMATOVA, Anna 8vo, frontispiece portrait, original printed white wrappers. A fine copy, preserved in a folding cloth box. A fine copy, preserved in a folding cloth box First edition of Akhmatova's masterpiece, first published in this form in the West, without the poet's knowledge, fourteen years prior to its publication in the Soviet Union in the journal Novyi mir in April 1987. "From 1925 until 1940, there was an unofficial ban on the publication of Akhmatova's poetry. Akhmatova concentrated on scholarship, immersing herself in her critical studies of Pushkin. But in 1935, following the arrest of Nikolay Punin, the man she was living with, and Lev Gumilyov, her son, she began to compose the 15-part poetry and prose cycle Requiem. Not daring to write it down, she recited various parts to friends, including Lidiya Chukovskaya (Korney Chukovsky's daughter), who memorized and reassembled them. Requiem, a tribute to the ordeal of the victims of the Terror, and the women who waited in the prison lines hoping to get word of them, is based on her own experience in Leningrad, where Lev was imprisoned for 17 months. In this great cycle, the "you" becomes all Russians imprisoned and tortured by their own government. Requiem was finally published in the Soviet Union in April 1987, in the journal Novy mir, was included in a book of her poems, Anna Akhmatova, Ya - golos vash. (Anna Akhmatova, I - am your voice. Moscow 1989) and in subsequent editions of her work." - Judith Hemschemeyer, from her preface to The Complete Poems of Anna Akhmatova (Boston and Edinburgh, 1992). Assessing Akhmatova's unique place in Russian poetry, and the profound identification of the Russian people with her, and she with them, during the Stalinist period, Joseph Brodsky wrote: "At certain periods of history it is only poetry that is capable of dealing with reality by condensing it into something graspable, something that otherwise couldn't be retained by the mind. In that sense, the whole nation took up the pen name of Akhmatova." - Joseph Brodsky, The New York Public Library's Books of the Century, (Oxford University Press, 1996), p. 174.
The Colossus. Poems

The Colossus. Poems

PLATH, Sylvia 8vo, original green cloth, dust jacket. Signs of use, but a very good copy in worn and soiled dust jacket. Signs of use, but a very good copy in worn and soiled dust jacket First edition of Plath's first regularly published book. Presentation copy, inscribed by Plath on the front free endpaper: "For Luke & Cynthia / with love - / Sylvia / April 13, 1961." A highly important association copy, rich in personal interest and history: E. Lucas (Luke) Myers, an aspiring writer from Tennessee, was intimately connected to Ted Hughes and Plath. Plath met Luke Myers at Cambridge, where she and Myers were studying, and admired his poetry and fiction. In her journal entry for February 25, 1956, she wrote: "I have learned something from E. Lucas Meyers (sic) although he does not know me and will never know I've learned it. His poetry is great, big, moving through technique and discipline to master it and bend it supple to his will. There is a brilliant joy, there, too, almost of an athlete, running, using all the divine flexions of his muscles in the act. Luke writes alone, much. He is serious about it; he does not talk much about it. This is the way." - Sylvia Plath, The Journals (London: Faber & Faber, 2000), p. 207. On March 3, Plath commented on Myers' fiction: "A chapter - story from Luke's novel arrived, badly typed, no margins, scrawled corrections, & badly proofread. But the droll humor, the atmosphere of London & country which seeps indefinably in through the indirect statement: all this is delicate & fine. The incidents & intrigues are something I could never dream up . . . Nothing so dull & obvious & central as love or sex or hate: but deft, oblique. As always, coming unexpectedly upon the good work of a friend or acquaintance, I itch to emulate, to sequester." - Plath, The Journals, p. 344. Luke Myers was a close friend of Ted Hughes, and it was outside the chicken coop behind the rectory of St. Botolph's Church that Myers rented from Mrs. Helen Hitchcock, the widow of a former rector, that Hughes used to pitch his tent on weekend visits to Cambridge University, from which he had graduated a year and a half before. St. Botolph's rectory "was a poets' haven, anarchic and unjudgmental", with Mrs. Hitchcock "turning a blind eye to the capers, bibilous and otherwise, of her undergraduate lodgers, of whom she was very fond." - Anne Stevenson, Bitter Fame: A Life of Sylvia Plath (London: Viking Penguin, 1989), p. 73. In February, 1956, a group of young Cambridge poets including Luke Myers, Ted Hughes, Daniel Huws and David Ross, among others, had just put together a little magazine appropriately named the St. Botolph's Review after Luke Myers' digs where they often gathered, and the launch party for the magazine (of which only one issue was published) was to be the occasion for the first fateful meeting between Plath and Hughes on Saturday, February 25, 1956. Plath, who had read some of the poetry by the St. Botolph's group - and two of whose own poems had been criticized recently by one of them, Daniel Huws, in the student magazine Chequer - purchased a copy of the Review on the morning of the party, and memorized several of Hughes's poems in anticipation of attending the party and meeting him. According to Plath's journal entry, after dancing for a while with a drunken, "satanic" Luke Myers, she ran into Hughes. Amid the crush of the party, "I started yelling again about his poems and quoting: ?most dear unscratchable diamond' and he yelled back, colossal, in a voice that should have come from a Pole, ?You like?' and asking me if I wanted brandy, and me yelling yes and backing into the next room . . . And then it came to the fact that I was all there, wasn't I, and I stamped and screamed yes, . . . and I was stamping and he was stamping on the floor, and then he kissed me bang smash on the mouth and ripped my hair band off, my lovely red hairband scarf which has weathered the sun and much love, and whose like I shall never again find, and my favorite silver earrings: hah, I shall keep, he barked. And when he kissed my neck I bit him long and hard on the cheek, and when we came out of the room, blood was running down his face." - Sylvia Plath, The Journals, pp. 211-212. As Diane Middlebrook put it: "Ted Hughes may not have been looking for a wife that night, but Sylvia Plath was looking for a husband, and Ted Hughes met her specifications exactly." - Diane Middlebrook, Her Husband: Hughes and Plath - A Marriage (London: Viking, 2003), p. 5. A month later in London, Hughes, not wanting "to declare his interest . . . asked Lucas Myers to play go-between. Myers could meet Plath for a drink somewhere, then just drop in on Hughes at the flat on Rugby Street, as if by chance. Myers admits in his memoir that he had taken a dislike to Plath, and that he agreed to this ploy reluctantly. He duly invited Plath to join him and Michael Boddy, another of Hughes's friends, at a pub called the Lamb, in Conduit Street - a poets' hangout - and shortly afterward suggested a visit to Hughes. It didn't take long to see that Hughes and Plath wanted to be alone." Later that night, at Plath's hotel, they spent - in Plath's words - a "sleepless holocaust night" together. - Middlebrook, p. 24. Soon after, Hughes left the job he had in London and moved to Cambridge, sharing a flat with Myers in Tenison Road, meeting Plath every day, and abruptly marrying her on Bloomsday, June 16, 1956 - secretly, with Plath's mother, Aurelia, the only family member at the wedding. In later years, Myers was witness to the difficulties in the marriage, and aware of its tenuous nature. In a measured attempt to explain "Sylvia's behavior and volte-faces between pleasantness and bitchiness" to Olwyn Hughes in a letter dated March 12, 1960, Myers wrote: "I have the feeling that it is best to think of Sylvia as being always pretty much as she was this weekend . . . Ted suffers a good deal more than he would ever indicate or admit, but he also
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Ultime Lettere di Jacopo Ortis

FOSCOLO, Ugo 8vo, contemporary quarter morocco and vellum boards. Ownership signature, some light foxing and faint marginal damp-staining, covers a trifle worn, otherwise a very good copy. Preserved in custom-made cloth chemise & quarter morocco & cloth slipcase. Ownership signature, some light foxing and faint marginal damp-staining, covers a trifle worn, otherwise a very good copy. Preserved in custom-made cloth chemise & quarter morocco & cloth slipcase First edition of one of the masterpieces of Italian Romanticism, an epistolary novel of unfulfilled, if not entirely unrequited, love and patriotism. Ugo Foscolo, best-known as the author of "Dei Sepolcri" and the sonnets, was born on the Ionian island of Zante of a Venetian father and a Greek mother in 1778, and died in 1827 in exile in England, where he was buried. In 1871, his body was exhumed and reinterred in Brunelleschi's Basilica of Santa Croce in Florence, where Macchiavelli, Galileo, Michelangelo, and Alfieri are buried, and which Foscolo celebrated in his most famous poem, "Of Tombs." The Last Letters of Jacopo Ortis was Foscolo's first work, written when he was only nineteen years old. Inspired by Goethe's Sorrows of Young Werther, it is a cri du Coeur for not only the betrayal of young love, but also of his country, as symbolized by Napoleon's cession of the Venetian Republic to Austria. "Jacopo, romantic hero and 'alter-ego' of Ugo Foscolo, ardent patriot and impassioned lover, finds, at the age of twenty-four, that he has drained the bitter cup of disillusion and deceit to the dregs, with his homeland sold and his beloved Teresa about to be joined to another man in an arranged marriage of interest." By turns rhapsodic and despairing, or manic and depressive, Jacopo is transformed into one of the earliest heroes of the Italian Risorgimento. Despite its almost unremitting gloom, The Last Letters "gains a sort of luminosity and even generates the hope of a wholly human immortality, granted not by a God who is unable to comfort men in their miseries, but by the solidarity which unites companions in misfortune and gives them everlasting gratitude for the memory of those who have sacrificed their own lives for others, who have not bowed down to tyranny, who have faced the bitterness of exile rather than submit to arbitrary power and injustice." - Victorio Massimo Manfredi, introduction to Last Letters of Jacopo Ortis, translated by J. G. Nichols (London: Hesperus, 2002).
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The Church of St. Mary & St. David Kilpeck

ARTIST'S BOOK] NUTTALL, Jeff Folio, 26 leaves of heavy gray stock, illustrated frontispiece, calligraphic title-page and section-titles in red with historiated initials, illustrated throughout with watercolors of views and interiors (a few onlaid), architectural elements and carvings, pen & ink drawings, most heightened with colored chalk or wash, plans, and floral borders, original calf, spine lettered in gilt, gilt device on front cover. Spine and covers rubbed, particularly at the extremities, otherwise this unique artist's book is in fine condition. Spine and covers rubbed, particularly at the extremities, otherwise this unique artist's book is in fine condition The original manuscript of Nuttall's 1954 Master's Thesis on the history of the medieval church in Kilpeck. "The one and only copy of this work is owned by Jonathan Williams." - note in The Kilpeck Anthology (Five Seasons Press, 1981). A history of the church in Nuttall's neat cursive hand illustrated and embellished with his artwork in three chapters: "The History", "The Sculpture & Architecture", and "The Impact". In the coda to the book Nuttall writes: "My intended detachment was completely destroyed. The building refused to be seen as an arrangement in stone, as the key to a time and a tradition, or as a piece in the jig-saw puzzle of art history. It stood unavoidably as a work of art, the timeless expression of a vision experienced under that same sun which now winked at me through the deep yew tree." Nuttall, poet, publisher, actor, artist, musician, and figure of the 60s' counter-culture in Britain, was the brother of literary critic and teacher A. D. Nuttall.
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Lyrical Ballads, with Other Poems. In Two Volumes. By W. Wordsworth

WORDSWORTH, William & Samuel Taylor COLERIDGE 2 volumes, 12mo, contemporary diced russia gilt. The R. W. Chapman-Abel Berland copy, with contemporary inscription and letter from E. H. Keasbury on the flyleaves, covers very slightly worn, otherwise an exceptionally fine unsophisticated copy. The R. W. Chapman-Abel Berland copy, with contemporary inscription and letter from E. H. Keasbury on the flyleaves, covers very slightly worn, otherwise an exceptionally fine unsophisticated copy Second edition of Lyrical Ballads, the first complete edition, being the second & best edition of Volume I & the first edition of Volume II; the first time the two volumes were issued together & the first appearance of Wordsworth's celebrated Preface. Printing & The Mind of Man 256. Hayward 202 (note). The second edition comprises all of the poems in the first edition of Volume I as issued in 1798 together with one additional poem ("Love"), Wordsworth's Preface, & an entirely new second volume with forty-one new poems. The present set has the following points: in Volume I, leaf [a]3 is cancelled, with line 1 recto reading "The First Volume"; leaves I3-4 are uncancelled; page 137 has "been" in line 9 & to in line 13; page 196 reads "agency" (instead of "agony") in line 14; in Volume II, leaves O1-2 & P2 are uncancelled; page 64 reads "Oft had I" in line 1 & "wide Moor" in line 6; page 83 has a comma after "last days" in line 6; page 92 reads "He" in line 2; page 129, line 11, has "when they please" normally but deterioratingly spread; O1-2 are uncancelled (p. 210 has ten lines, omitting fifteen lines of "Michael"), as well as the errata leaf P2 which had three corrections rather than twenty-seven. Ashley 8:6-9. Cornell/Healey 6-11. Printing and the Mind of Man 256. Wise 5. Tinker 2330-1. The importance of Wordsworth's Preface cannot be overestimated; in the words of Kenneth Johnston, Wordsworth's latest biographer, it is arguably the most influential document of literary theory in English. Considered conceited in its day, Wordsworth's Preface expressed the poet's re-evaluation of the nature & appropriate objects of poetry in light of his own experience. "Wordsworth was motivated by the Poet's duty to renew his entire culture, promulgating a theory of the creative imagination's role in improving human society . in terms of a theory of poetics: metrics, diction, and style." - The Hidden Wordsworth (Norton, 1998), pp. 738-739. Believing that the incidents of common life could provide inspiration & interest for a new kind of poetry & a new sensibility, Wordsworth stated most memorably that "all good poetry is the spontaneous overflow of powerful feelings; . Poems to which any value can be attached, were never produced on any variety of subjects but by a man who being possessed of more than usual organic sensibility had also thought long and deeply. Poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotions recollected in tranquility; the emotion is contemplated till by a species of reaction the tranquility gradually disappears, and an emotion, similar to that which was before the object of contemplation, is gradually produced, and does itself actually exist in the mind".
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The Collected Poems of Weldon Kees. Edited by Donald Justice

KEES, Weldon 8vo, full black morocco with blind-stamped initials ("WK") on front cover and gilt lettering on spine, publisher's slipcase. A very fine copy of this rare issue of one of the most beautiful books from the Stone Wall Press, and still the definitive edition of the poet's work, in the rare slipcase which is slightly, faintly stained. A very fine copy of this rare issue of one of the most beautiful books from the Stone Wall Press, and still the definitive edition of the poet's work, in the rare slipcase which is slightly, faintly stained First edition. One of only 20 copies on Rives Heavy, a French mould made paper and bound in full leather, out of a total of 200 copies printed. Berger 8. Dana Gioia has chronicled Kees's posthumous reputation, noting that "Kees's stature among poets has risen steadily since 1960 when Iowa City's fledgling Stone Wall Press posthumously published his Collected Poems in a hand-printed edition of 200 copies. The volume received an extraordinary amount of attention for a fine press book of verse, especially one by a dead Nebraskan poet of limited reputation. The Collected Poems earned substantial notices in the New York Times Book Review, The Hudson Review, Partisan Review, Poetry, The New York Herald Tribune, and Saturday Review. The book's positive reception, however, displayed two significant features that would become constants in restricting Kees's subsequent audience. First, his champions were nearly all poets. Second, the collection they praised was virtually impossible to obtain; its small print run, high price, and severely limited distribution placed it outside the normal channels for trade books." Gioia, the current head of the National Endowment for the Arts and the author of the influential collection of essays Can Poetry Matter? Essays on Poetry and American Culture (1992), finds in Kees a paradigm of the place, or displacement, of poetry in contemporary American academia and culture, observing that "it appears that as Kees's' fame among poets grows ever larger his already marginal critical reputation shrinks further. The disparity between the legion of imaginative writers who admire Kees's work and paucity of academic interest demonstrates that there is something now oddly out of joint between the worlds of poets and literary critics." - Dana Gioia, "The Cult of Weldon Kees", Dana Gioia Online.