THE COLLECTED POETRY AND PROSE OF LAWRENCE FIXEL
First printing of this extensive collection of Fixel's work, inscribed by editor Gerald Fleming to DC poet and musician Terence Winch. 9.5'' x 6.5''. Original blue wrappers with French flaps. 571, [3] pages. Inscribed by Fleming on title page: "For Terence [Winch], with warm good wishes, Jerry - March 2020." A few neat pencil annotations to introduction. Minimal edgewear.
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ART BY TELEPHONE (This Is A Recording)
Original catalogue to the Museum of Contemporary Art exhibit which was to run November 1 - December 14, 1969 - but never was. Recordings of artists describing projects and installations to museum director Jan van der Marck via long-distance phonecall. These projects were then to be executed by the museum on behalf of the artists according to their instructions. Artists include: Siah Armajani, Richard Artschwager, John Baldessari, Iain Baxter, Mel Bochner, George Brecht, Jack Burnham, James Lee Byars, Robert Cumming, Francoise Dallegret, Jan Dibbets, John Giorno, Robert Grosvenor, Hans Haacke, Richard Hamilton, Dick Higgins, Davi Det Hompson, Robert Huot, Alain Jacquet, Edward Kienholz, Joseph Kosuth, Les Levine, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Richard Serra, Robert Smithson, Guenther Uecker, Stan Van Der Beek, Bernar Venet, Frank Lincoln Viner, Wolf Vostell, William Wegman, and William T. Wiley. A landmark of conceptual art, the exhibition was never mounted, however, due to technical difficulties. Nevertheless, this LP remains a seminal document. [Broken Music p. 88]. 12.25'' x 12.25''. 12 Ì LP record in original black cardboard gatefold cover. Cover generally very good. Some rubbing to cover, light soil to edges. Split to upper edge. A few scuffs. Lacking original LP sleeve. New mylar archival sleeve provided. Surface of LP exhibits some mild scratching. NEW YORK CITY IN 1979: to Jeanne’s insulted beauty
Collection of five different versions of Acker's first critically acclaimed work - including a pre-publication copy of her own corrected typescript. The pre-publication copy gives key insight not only into Acker's writing methods, but also raises interesting questions about the intended structure of the finished story, and highlights the mutable interpretations regarding the published presentation of her prose writing, via four different versions included herein. This copy was sent by Acker in late 1979 to friend and fellow experimental writer Paul Buck. The pages have clearly been xeroxed on several different machines with different paper stock and print qualities evident in different sections, and pp. 29 is an original typescript passage (with visible typed corrections and numbered in holograph in Acker's distinctive hand) which has been taped onto the verso of a sheet of letterhead for "Performing Artservices Inc., 463 West St NY," an organization that provided management and administrative services to avant-garde artists. Included with this document are four published editions of the story. The first, although not always credited thus, was in International Times vol. 5 no 5. (January/February 1980). Run as "New York City '79" over the centerspread, this version is closest to the typescript form. There is persuasive evidence that the editors of I.T. were working from a similar photocopy, and whether instructed thus by Acker or not, they took the cut-up style of the piece at face value and ran it as a series of fragments differentiated from one another by the use of typefaces, and with no cohesive order. Probably due to space constraints, this version is also heavily abridged, however the notable omissions of the three statements about lesbians suggests that there was also a degree of selective censorship at work. The first publication of the complete text followed in July 1980 in the pages of San Diego magazine Crawl Out Your Window (Issue 7). Here, the sentences - which run over multiple pages in the typescript - are conventionalized into standard lines. There are also slight textual differences with a couple of additional sentences added. The first stand-alone publication came in Top Stories 9 (1981) which incorporated photographs by Anne Turyn. These images again mutate the text and raise further questions about Acker's editorial intention; the typescript title-page bears the uncompleted subheading "Photographs by", but gives no further allusions to this content. The final example is the 1991 Semiotext(e) collection HANNIBAL LECTOR, MT FATHER, which shows still further textual edits. In terms of form, the most marked difference between the typescript copy and the published editions that followed is the way in which the text is divided into a series of passages or episodes, numbered at the head of the page. These can be full paragraphs or single sentences, or, for example, the word "syphilis" which has an entire page to itself. This deliberate distribution of white space surrounding the single word (which in later editions is returned to the conventional layout of a sentence) adds nuance and valence to the story which is arguably altered in transcription. In the key collection of Acker Papers at Duke University, there is a comparable copy described thus in their catalogue: "60-page photocopied typescript, corrected in the photocopy, with original note on the title page, My Copy, by Acker". We have not been able to locate an original typescript, suggesting that this format with Acker's holograph corrections in the copy is as primary a resource for this text as is currently known. A revealing collection about Acker's Pushcart Prize-winning work, showing both her working methods and intentions, while simultaneously demonstrating their editorial undoing across numerous editions. Photocopy of typescript with one page original typescript bearing top-copy typed corrections and holograph number, that page taped to verso of letterhead. 60pp. printed on recto only, stapled at top right corner with neat tape reinforcement over staple on title page. Light wear to title page and final sheet, tail edge of two oversized sheets rubbed. Taped revision loose from browned tape mounts. With four published appearances featuring the story also provided. SOUNDS IN THE DISTANCE
Rare signed copy of Wojnarowicz's first book, with a brief but revealing autograph note from him laid in. A selection of monologues from "junkies, prostitutes, male hustlers, truck drivers, hobos, young outlaws, runaway kids, criminal types, and perpetual drifters" (DIARIES) the artist began gathering as early as 1974 during his travels hitchhiking and train-hopping across America, SOUNDS IN THE DISTANCE marks this influential multimedia artist and AIDS activist's first book. Issued in an edition of 500 copies, according to our colleagues at Granary Books, "Jim Pennington, printer and editor at [publisher] Aloes, reports that Bookslinger, their sole American distributor, may well have pulped their considerable stock when they went out of business circa 1984." A scarce book (OCLC notes just 7 scattered copies in the US), it is quite rare signed. The brief autograph note from Wojnarowicz loosely laid into this copy explains: "The guy in the cover photo was sleeping near Beaubourg Museum in Paris. One of the local drunks." An excellent example of this important debut. 8.25'' x 5.75''. Original saddle-stapled black-and-white pictorial wraps, featuring a photograph by Wojnarowicz. With a rear cover blurb by William S. Burroughs. [2], 52, [2] pages. Signed by Wojnarowicz on the title page: "David Wojnarowicz NYC '83." Small autograph note in Wojnarowicz's hand conveying the book loosely laid in; 50 words approx, on a 4'' x 6'' piece of scrap paper (bottom edge torn, as sent). Touches of shelfwear to books. Clean, sound, and sharp overall. SOVIET TEXTS
First printing, review copy, of these poems by the Moscow Conceptualist, translated from the Russian by Simon Schuchat with Ainsley Morse. 8'' x 5.25''. Original black and white wrappers. 291, [5] pages. Publisher's original review slips and postcard laid in. A few neat pencil annotations scattered throughout. Minimal edgewear. SO GOING AROUND CITIES: New & Selected Poems 1958-1979
First trade edition of this major collection of Berrigan's poems, organized in chronological sections telling the "several stories that go to making the one story, my story." 9'' x 6''. Original pictorial wrappers by Donna Dennis. The Selected Works Series #4. 403, [3] pages. Ink owner name to front free endpaper. Only light edgewear. RING OF BONE: Collected Poems 1950-1971
First printing of this posthumously issued collection by the Beat poet and inspiration for Kerouac's BIG SUR character Doug Wain, edited by his literary executor Donald Allen. 9'' x 6''. Original orange and white wrappers. 233, [1] pages. Minor soil to edges of text block, faint rubbing to wrappers. Bit of rubbing here and there. Overall, bright and clean. SINCE VOLUME ONE
First printing of this 28-poem booklet, inscribed by both Waldrops to D.C. poet and musician Terence Winch - a warm association. 5'' x 6''. Original terracotta wrappers. In original terracotta dust jacket by Keith Waldrop. Designed and printed by Rosmarie and Keith Waldrop. Edition of 500 copies; this copy no. 225. Inscribed on front free endpaper "For Terence Winch, / Keith / and Rosmarie Waldrop." Some minor scuffing and faint sunning along dust jacket spine. ASPEN: The Magazine in a Box
Complete ten-issue run of this elaborately produced and hugely influential artists' magazine, one of the defining publications of the 1960s. Intricate and ornate, ASPEN appeared irregularly over the second half of the 1960s and through ten issues assembled one of the most impressive rosters of writers and artists to appear in any magazine of the time: J.G. Ballard (an excerpt from CRASH), Roland Barthes ("Death of the Author"), Samuel Beckett, William Burroughs, John Cage, John Cale, Merce Cunningham, Willem De Kooning, Duchamp, Allen Ginsberg, Philip Glass, Dan Graham, Al Hansen, David Hockney, Jasper Johns, John Lennon, Sol LeWitt, Roy Lichtenstein, George Maciunas, Angus MacLise, Marshall McLuhan, Jonas Mekas, Charlotte Moorman, Yoko Ono, Nam June Paik, Robert Rauschenberg, Lou Reed, Ed Ruscha, Richard Serra, Susan Sontag, The Velvet Underground, Andy Warhol, La Monte Young, to name only a fraction. Yet where ASPEN truly excelled was in its innovative design: "Commissioning contemporary artists to design and guest-edit the magazine, [Johnson] transformed ASPEN into a miniature traveling gallery [that attested] to the potential of the magazine as a new kind of artistic medium" (Allen 43). Johnson described ASPEN as "the first three-dimensional magazine"; issues came in a variety of enclosures and formats, and included numerous flexi-disks of both spoken word and music (13 in all), puzzles and other elements for readers to assemble, die-cut inserts, flipbooks, and even a Super-8 movie. While never a financial success (what little advertising was sold was relegated to entirely separate portions of each issue and hence were easily overlooked by readers), ASPEN has gone on to wield enormous influence on subsequent publications, from NEST, to AVALANCHE, to MCSWEENEY'S. It remains an important document of "minimalism, conceptual art, and related practices" (ibid). A quintessential magazine of the era. 10 volumes, various formats and sizes. Vol. 1, No. 1: complete in original box. Box with some creasing and minor scuffing; very good. Contents fine. Vol. 1, No. 2: complete in original box. Box split at fold, but intact at hinge. About very good. Contents fine. Vol. 1, No. 3: complete in original box. Box has touches of wear; near fine. Contents fine. Vol. 1, No. 4: complete in original box. Box with some rubbing, scuffing, and bumping. Three spots of residue to rear panel. Overall sound and very good. Contents fine. Issue 5+6 (Fall & Winter 1967): Lacking only green, black, and white Aspen renewal order form (duplicate subscription form present, however), else complete in original box. Box rubbed with some spotting and wear. Very good. Contents generally near fine. No. 6A: complete in original mailing envelope. Envelope worn; very good. Contents fine. Aspen 7 (British Box): complete in original box. Box worn, as common. Tape repair to one corner. Some tear and creasing. Very good minus. Contents fine. Aspen No. 8 (Fall/Winter): Complete in original printed folder. Folder with some wear and toning; very good. Contents some toning and minor edgewear here and there; near fine. Aspen No. 9 (Winter/Spring): complete in original folder. Folder has some splitting at spine, but sound. Minor wear, very good. Contents generally fine. Aspen 10: complete with original unfolded box. Box and contents fine. Also includes: original 1965 subscriber's letter, and nine clipped advertisements for ASPEN from such publications as THE EVERGREEN REVIEW, NEW YORK TIMES MAGAZINE, and elsewhere. Very good plus to near fine overall. MOKO; OR MAORI TATTOOING
First edition of this classic study of Maori tattooing, profusely illustrated with photographs and Robley's own drawings. Robley, an amateur artist with a deep interest in Maori culture, had a genuine passion for recording the intricate designs, techniques, and history of the intricate art of tÄ moko; he was also a soldier and, notoriously, a collector of mokomakai: preserved, tattooed human heads, sought after and debased as objects of commerce and display by European and American collectors and museums alike. Robley's meticulous illustrations, photographs, and descriptions have become an invaluable resource for historians and revivalists of traditional Maori arts, preserving unique images of an art form and cultural practice that, at the very same time, imperialistic forces were beginning to efface. An indispensable study. 11" x 9" Original gilt-stamped brown cloth boards, with decoration stamped in black. Black endpapers. Illustrated with 180 plates and frontispiece. [22], 216 pages. Mild edgewear and scuffing to boards at extremities. Spine lightly sunned. Light foxing, primarily to title page and surrounding leaves. Hinges sound. SEPARATE WAY
Scarce first edition of Reznikoff's poetry collection, the final publication from The Objectivist Press. In a 1968 interview with L.S. Dembo, Reznikoff defined the Objectivist writer as one "who does not write directly about his feelings but about what he sees and hears; who is restricted almost to the textimony of a witness in a court of law; and who expresses his feelings indirectly by the selection of his subject matter and, if he writes in verse, by its music." And: "I can only say what I saw and heard, and try to say it as well as I can." 7.5'' x 5''. Original yellow cloth with printed paper spine label. In original unclipped ($1) printed grey dust jacket. 37, [1] pages. Light bumping and moderate soil to boards. Light edgewear and one tiny closed tear to jacket. THE RIVERSIDE INTERVIEWS: 1. Allen Ginsberg
Limited first edition, signed by Ginsberg, of Selerie's extensive three-part interview with Ginsberg, conducted in 1979 before and after a reading at Battersea Arts Centre in London. 11.5'' x 8.25''. Original side-stapled black and white photographic wrappers. [2], i-v, 51 leaves printed rectos only. Black and white photographic illustrations. Edition of 600 copies. Morgan, Bibliography of Secondary Sources, J3005. Signed by Ginsberg on acknowledgments page. Light edgewear. The Compleat Mister Infinity
Signed first edition of Spiegelman's self-published mini-comic, produced around the time of the artist's move to San Francisco and immersion in the underground comics scene. Gary Arlington's San Francisco Comic Book Company was the nation's first comics-only store and the hub of underground comics culture, offering meeting space and photocopying capabilities to artists like Spiegelman, Robert Crumb, S. Clay Wilson, Trina Robbins, and Bill Griffith. In 2012, Spiegelman told the SAN FRANCISCO CHRONICLE: "San Francisco was the capitol of comix culture in the '60s and early '70s; and Gary Arlington's hole-in-the-wall shop was, for me, the capitol of San Francisco." 2.5'' x 8.5''. Side-stapled black and white pictorial wrappers. Illustrated in black and white. 10 pages. Signed by Spiegelman in blue pen on front cover. HOW DID I GET HERE? THE ASCENT OF AN UNLIKELY CEO
Hawk, Tony; Hawk, Pat First edition of this personal reflection on the place where skateboarding meets entrepreneurship, by "the most famous and influential skateboarder of all time" (jacket). Tony Hawk, the most famous name in skateboarding, ollied his way to the top of the game with skills on the halfpipe and in his creation of a personal brand. In HOW DID I GET HERE?, Hawk and his business partner (and sister) Pat recall interesting moments on the way to superstardom. 9'' x 6''. Original black boards with bronze metallic spine lettering. Original unclipped ($24.95) color pictorial dust jacket with embossed elements, designed by Jaimie Muehlhausen. Illustrated throughout in black and white with 8 leaves of color plates. 188 pages, including index. Tiny tear to top of front fold. Trace rubbing, shelfwear here and there. Clean and bright overall. Near fine in very good plus jacket.- $60
- $60
THE TOE QUEEN POEMS
Sanders, Ed Collection of verse from Sanders and his notorious press. According to Sanders, the inspiration for these poems was "a guy who worked at the 2-for-25-cent hamburger place next door [and] came in for cigarettes. I asked him why he was barefoot. He replied, 'I have a date with Toe Queen, and my date likes dirty feet." A well-preserved example. 11'' x 8.5''. Original lavender side-stapled self-wrappers. Mimeographed throughout. [2], 14, [2] pages (including covers), generally rectos only. Minor edgewear, toning. Else clean and sound.- $250
- $250
POEMS FOR MARILYN
Sanders, Ed; Taylor Mead; Ed Fowler; John Keys; Joel Oppenheimer; John Harriman An early and scarce publication from Sander's press, a memorial anthology "printed, collated, & stomped out at a secret location in the lower east side" just after Marilyn Monroe's death in August, 1962. 11'' x 8.5''. Original salmon side-stapled self-wrappers. Mimeographed throughout. [20] pages (including covers), generally rectos only. Touches of edgewear. Small spot of soil to rear wrapper. Else sound and bright.- $1,000
- $1,000
WHAT IT IS
Inscribed limited edition of this chapbook by the Long Island poet, illustrated by artist and fellow East Hamptonite Josh Dayton. 8.5'' X 5.5''. Original glossy black and white pictorial wrappers. Black and white illustrations by Dayton. 26, [1] pages. Edition of 526 copies, this copy no. 229. Inscribed by Long on title page. Light wear, traces of soil to wrappers. IRISH MUSICIANS / AMERICAN FRIENDS
Inscribed first edition of these poems by the Irish-American poet and musician associated with Washington, DC's "Mass Transit" school of Language poetry. 8.5'' x 5.25''. Original glossy black and white wrappers. 77, [1] pages. Inscribed by Winch on half-title page: "(The best things in life are free; the second-best cost $8.95.)." Minor edgewear, faint price sticker residue to back cover. FOTOGRAFIE AUS BERLIN
Scarce catalogue of an exhibition introducing eight mid-'80s photographers from West Berlin to the American public. Photographers include Gosbert Adler, Dieter Binder, Uschi Blume, Friedhelm Denkeler, Ulrich Görlich, Wilmar Koenig, Michael Schmidt, and Klaus-peter Voutta. 8.75'' x 8.75''. Original saddle-stapled printed yellow wrappers. Illustrated with black and white photographs, one in color. THE FUGS’ SONGBOOK
Sanders, Ed First printing of the Artists' Workshop Press edition of 1966, from the original Fug Press edition of 1965. Prepared by Ed Sanders, Ken Weaver, and Betsy Klein, with notes by Sanders. Includes table of contents and list of the Fugs' then-current band lineup: Tuli Kupferberg, Ed Sanders, Len Weaver, Steve Weber, Peter Stampfel, Vinny Leary, and Moe Mahoney. Lyrics credited to various band members except where copyright is shared with William Blake and God. 11'' x 8.5''. Original side-stapled yellow self-wrappers. Mimeographed throughout on multi-colored stock. [3], 27, [2] pages printed rectos only. One of 500 copies. Mild toning, a couple tiny chips to front wrapper. Else clean and sound.
TOWERS DOWN: Two Poems
di Prima, Diane; Matson, Clive Scarce limited edition chapbook containing di Prima's and Matson's poetic reponses to the 2001 attacks on and by the United States; both works also appeared in the antiwar anthology AN EYE FOR AN EYE MAKES THE WHOLE WORLD BLIND. 8'' x 5.5''. Original saddle-stapled grey-green wrappers. Unpaginated. Printed at Geary Print Shop in an edition of 300 copies for an anniversary reading at Bird & Beckett Books on September 11, 2002.
THE FUGS’ SONGBOOK
Sanders, Ed Rare true first edition of this compilation of lyrics of Sander's rock band, printed by his notorious press, and "sold at performances and in the Peace Eye book catalogs." Prepared by Ed Sanders, Ken Weaver, and Betsy Klein, with notes by Sanders. Includes table of contents and list of the Fugs' then-current band lineup: Tuli Kupferberg, Ed Sanders, Len Weaver, Steve Weber, Peter Stampfel, Vinny Leary, and Moe Mahoney. Lyrics credited to various band members except where copyright is shared with William Blake and God. One of the more elusive titles from the FU Press. 11'' x 8.5''. Original side-stapled blue self-wrappers. Mimeographed throughout on multi-colored stock. [3], 27 pages (including cover) printed rectos only.
