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This dramatic version of Moby Dick — Melville's novel which has claims to be considered among the world's prose masterpieces — was commissioned by the B.B.C., and presented on the air, with Sir Ralph Richardson as Ahab, in January 1947. To compress this vast novel into two and a quarter hours has involved drastic cutting. In particular those famous digressions about the history and technicalities of whaling, which to the enthusiastic lover of the novel are a great part of its fascination, have had to go. There has, however, been no need to diminish the great theme of Ahab's fanatical thirst for revenge, and his 'fiery hunt' of the white whale round two-thirds of the globe. By isolating in this version that great symbolic tragedy of a man's 'quenchless feud', Henry Reed has made an interesting contribution to radio drama, and has brought to it the insight and skill which have made him known as a poet.
by the author of
A Map of Verona
apparently this book is worth, like, 200 bucks?
at least SomE of the stuff I've scanned has a worthy value!
;)
Armed gangs of robbers, called bushrangers, were a constant threat to stage coaches carrying gold from the goldfields.
Beneath the Southern Cross, A Story of Eureka by Helen Palmer 1954. Illustration by Evelyn Walters.
A history of the Australian Goldfields of the 1850s, told through the eyes of a young boy growing up in the goldfields, including the Miners Revolt at the ‘Eureka’ Stockade.
Published by FW Cheshire, Melbourne. Coloured dustjacket over light brown boards 104 pages 19cm x 13.5cm.
This copy signed by the author and includes an inserted handwritten letter from the author to Ian Turner, requesting a loan of a rare book.
The Peace Arts Anthology.
edited by Daniel Brooks & Enda Soostar.
Ottawa, Peace Arts Publishers, [january] 1985. 6oo copies numbered 1-6oo in black ink at colophon, p.ii. ISBN o-77o9-o158-1.
6 x 8-15/16, 38 sheets ivory Domtar Carlyle Japan folded to 152 pp in 9 signatures of 4 sheets each & a 1oth of 2, sewn cream in 7 double stitches & glued with plain white light card endpapers & approx.1/2" black & white cloth appliqué head & tail bands into 6-1/4 x 9-1/4 black cloth-covered boards, spine & front cover only printed white letterpress, interiors all except 1o pp (i, iv, viii, xv, xvi, & last 5 pp) printed black letterpress, in 6-5/16 x 9-1/4 white glossy dustjacket printed black offset recto only.
cover photo by Peter Hendrickson.
44 contributors ID'd:
Robert Allen, John Baglow, Earle Birney, Bill Bissett, Jean-Claude Blouin, George Bowering, Daniel Brooks, Shelley Brown, Mick Burrs, L.Andrew Coward, Michael Dennis, Mary Di Michele, Margaret Dyment, Robert Eady, Mark Frutkin, Gary Geddes, Kevin Gildea, Gordon Gilhuly, Richard Harrison, Sharon Havrot, Peter Hendrickson, Tom Henighan, Doris Hillis, Robert Hogg, Joy Kogawa, Margaret Laurence, Anne Le Dressay, David Lewis, Blaine Marchand, Daphne Marlatt, Robin Mathews, Ward Maxwell, Susan McMaster, Bruce Meyer, Colin Morton, bpNichol, Robert Priest, Libby Scheier, Enda Soostar, Raymond Souster, Anne-Marie Theriault, Talking Turkey, Bronwen Wallace, Adele Wiseman.
Nichol contributes a poem:
i) Hour 16 3:35 p.m. to 4:35 p.m. (pp.24>27)
"In Monterey, on the California coast, Sweet Thursday is what they call the day after Lousy Wednesday, which is one of those days that are just naturally bad. Returning to the scene of Cannery Row, the weedy lots and junk heaps and flophouses of Monterey, John Steinbeck once more brings to life the denizens of a netherworld of laughter and tears from Fauna, new headmistress of the local brothel, to Hazel, a bum whose mother must have wanted a daughter."
1946; In de woning der Geesten by Boekan Saja. Published by W. van Hoeve. Dutch hardback with dust jacket.
The Voyage of the Waltzing Matilda by Philip Davenport 1953.
The newly-wed Philip and Roz Davenport, sailed around a major part of the World in a small 46’ Bermudian Cutter with a 53’ mast, leaving Sydney Harbour on October 1950. The cutter had just been constructed in Tasmania for the three adventurous Sydney brothers: Jack, Philip and Keith Davenport, who had all seen service as bomber pilots during World War 2 with the Royal Australian Air Force. Accompanying the 32 year-old Philip, and his wife Roz, was his brother, Keith and a sailing friend, Don Brown.
The Waltzing Matilda, named after a popular Australian folk song, visited New Zealand, Chile, Argentina, and Brazil along the way before finishing in London in late 1951.
Published by Hutchison of London. Brown cloth boards with illustrated dustjacket, 232 pages 14cm x 22cm.
trove.nla.gov.au/ndp/del/article/18517571 Roz Davenport’s interview about the journey from the (Sydney) Sunday Herald 30th November 1952.
Munich-New York: Prestel, [1998]. First edition. Hardback witth pictorial dustjacket. Colour frontispiece. ISBN 3791319914. Oversize. 116 pages with 32 full-colour and 48 black-and-white illustrations. . This book's only flaw is an inch long tear in its dustjacket at the base of the spine.
Venus and Mars captures the multiplicity of medieval life in a selection of high-quality colour eproductions of the most exquisite folios reproduced from the world-famous illuminated manuscript The Medieval Housebook, and is complemented by countless details in the accompanying text.
The Medieval Housebook, which sheds light on the beliefs and knowledge common to the period, was completed around 1480, and is particularly famous for the meticulous draftsmanship of the so-called Housebook Master.
Active in the Middle Rhine region, the artist portrayed his world with great sensitivity and wit, not only in the Housebook, but also in the many drawings, paintings and prints attributed to his hand.
Despite the outstanding quality of his work and the considerable influence his engravings, in particular, had on his younger contemporary Albrecht Durer, the identity of the Housebook Master and his patrons, however, still remain a mystery.
For over three hundred years this unique manuscript has been kept in the collection of the Princes of Walburg Wolfegg at Schloss Wolfegg near Ravensburg, Gerrmany.
The medieval manuscript includes a discussion on the art of memory, an astrological section with illustrations of the planets, jousting tournaments, gardens of love and courtly life as well as medicinal and household remedies. Chapters on mining and the art of war are also included, providing a fascinating insight into medieval technology.
All these facets of medieval life are analysed in Venus and Mars together with reproductions of some of the most exquisite folios.
Landmark Books were a series of history books published in the 1950's for children. I loved reading them as a kid, but got most of them from the library where the had dull covers without dustjackets. I've been picking some up at thrift shops. I really enjoy the cover art, and since I seem to barely be able to make a dent in my monthly upload limit, I'm sharing them with you.
edited by Louise Fletcher, Marshall Hryciuk & Keith Southward.
Toronto, [april] 1992. [probably 1oo copies; some copies released with a white xerographic bond dustjacket printed black photocopy.].
5-3/8 x 8-1/2, 11 sheets white plainfield folded to 44 pp & stapled twice into lime mayfair card wrappers, all printed black, photocopy in offset covers.
cover unacknowledged.
35 contributors ID'd:
A.Araghetti, Nick Avis, Guy R.Beining, Marianne Bluger, Ion Codrescu, Geoffrey Daniel, Robert Farmer, Fred Gasser, LeRoy Gorman, J.W.Hackett, William Hart, William J.Higginson, Wharton Hood, Gary Hotham, Jean Jorgensen, Jim Kacian, Rebecca Lilly, Daniel Thomas Manley, Loren Mattei, Michael McClintock, Steve McComas, Dorothy McLaughlin, Carol Montgomery, Lenard D.Moore, Brent Partridge, Alan Pizzarelli, Francine Porad, Phillip Quinn, Bruce Ross, Keith Southward, Dann R.Ward, Mark Arvid White, Tundra Wind, Sheldon Young.
curry contributes:
i) "abalone", as by "Wharton Hood" (poem, p.17)
Henry Reed (1914—86), author of 'Naming of Parts', probably the most anthologized English poem of the Second World War, has too often been held to be that and that only. This book gives the lie to that misperception. In addition to A Map of Verona, published in 1946, and the sequence, Lessons of the War (1970), he wrote numerous radio plays for the BBC — including Moby Dick and the Hilda Tablet group — and was also a fine translator, particularly from the Italian.
On his death Reed left behind a sheaf of uncollected poems that had appeared in magazines, particularly the Listener, and many still in manuscript. These, together with all the published work, a group of translations, a selection of songs from the radio plays, and a number of drafts and fragments, complete this Collected Poems.
Jon Stallworthy, poet, critic, and prize-winning biographer of Wilfred Owen, has had access to Reed's manuscripts, and has written a biographical and critical introduction. The volume also contains notes on the poems.
'. . . here is distilled a uniquely gifted and individual poetic talent insufficiently appreciated in its lifetime. Henry Reed takes his place alongside Auden, MacNeice, and Durrell: poets whose ease and familiarity with Europe is allied to a sure sense of English style.' — Peter Porter
Jacket illustration (front) Henry Reed
(back) Extract from an undated autograph fragment, 'The Chateau' (reproduced by kind permission of The Executor of Henry Reed's Estate).
This book has been circulated only eight times and looks like it's been in a war zone due to the polypropylene cover. See related information by clicking HERE (must have photo open to use this link).
Simon and Schuster 1945; A Time to Die by Hilda Lawrence.
Today's 'find' was handed to my by my brother. On an attic he found this Hard Cover of the Inner sanctum Mystery. Looks a bitt a strange amongs all my paperbacks, but the Cover Artist is really familiar. H. Lawrence Hoffman did the cover art.
“Out of Space and Time,” first released in 1942 by Arkham House, is a collection of fantasy, horror and science fiction short stories. They were selected by the author who considered them his best work to date.
Publication: Galveston ISFDB Publication Record # 15038
Authors: Sean Stewart
Year: 2000-03-00
ISBN: 0-441-00686-8 [978-0-441-00686-1]
Publisher: Ace Books
Price: $23.95
Pages: 454
Binding: hc
Type: NOVEL
Title Reference: Galveston
Cover: Victor Stabin
Notes:
"First edition: March 2000" stated on the copyright page with a complete number line: "10 9 8 7 6 5 4 3 2 1".
The Library of Congress Cataloging-in-Publication Data includes the ISBN, publication year (2000) and LCCN: 99-35454.
Publisher stated as "Ace Books" on the title page, "Ace Fantasy" on the spine of the book and dustjacket, "An Ace Science Fiction and Fantasy Book" on the back flap of the dustjacket, and as "An Ace Book (over) Published by The Berkley Publishing Group, (over) a division of Penguin Putnam Inc." on the copyright page.
"Jacket design by Judith Murello (over) Jacket art by Victor Stabin" printed on the back flap of the dustjacket.
Bibliographic Comments: Add new Publication comment (GALVESTON2000)
1514. It is likely this photo was taken in Jan. 1984, when HMAS STUART became the first major RAN warship in decades to be permanently based in Western Australia.
In his book ''The Royal Australian Navy : Historic Naval Events Year By Year', author Lew Lind chose this image to mark the March 1967 introduction of the RAN's 'Southern Cross' ensign, although the picture is actually taken the best part of 20 years later.
Astern, HMAS DERWENT has emerged here from her 1979-1983 half-life refit, with a much lower profile than previously, when the Dutch air warning radar was carried atop a tall foremast. It can now be seen astern, behind the 'golfball' gunnery radar.
Photo: RAN Official, it appears in the revised 1986 edition of Mr Lind's book, cited above, at both page 253 and on the back of the dustjacket cover.
The winds of Edgar Rice Burroughs’ Mars blow across a world where danger, daring and adventure are the lifeblood of its untamed inhabitants. Here are magnificent cities glistening with barbaric splendor and peopled by the noble red men of Mars . . . savage, rampaging hordes of giant, multi-limbed green men who roam the Martian plains . . . fierce beasts of prey whose hideous cries are the dreadful chorus of the red planet’s night.
In “Thuvia, Maid of Mars," the first of two complete novels, Carthoris, son of the legendary John Carter, is accused of abducting the beauteous Princess Thuvia. To clear his name, and to rescue the woman he loves, he must battle hosts of diabolical foes. Yet all seems lost when they fall into the hands of Tario, mad ruler of Lothar – for he proposes to sacrifice them to his savage, beast-like god!
In “Chessmen of Mars,” Prince Gahan of Gathol braves all the dangers the red planet can offer in a desperate search for the lost Tara of Helium, John Carter’s daughter. The ultimate test of courage awaits him when she is captured by the city of Manator and made the prize in a game of Martian chess – played with living pieces – and played to the death! [From the blurb on the dustjacket]
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Frank Frazetta (1928-2010) was an American artist who specialized in fantasy and science fiction themes. He is widely regarded as one of the most influential illustrators of the 20th century, and his distinctive style has inspired generations of artists and filmmakers.
Frazetta began his career as a comic book artist, working on titles such as Buck Rogers, Li'l Abner, and Vampirella. He gained fame for his cover paintings of Conan the Barbarian, Tarzan, and John Carter of Mars, among other pulp fiction characters. He also created posters for movies such as What's New Pussycat?, Mad Monster Party?, and The Gauntlet. In 1983, he collaborated with animator Ralph Bakshi on the film Fire and Ice, based on his original characters and designs. [Source: Wikipedia]
Book Books Buch Bücher Read Reading Literature Literatur Lesen- (C) Fully copyrighted. No use of any image whatsoever without written royalty agreement. No answer = no permission at all. - (C) Verwendung generell nur nach schriftl. Honorarvereinbg. Keine Antwort = keine Freigabe.
Ron Lightburn with an advance copy of his book "FRANKENSTINK! Garbage Gone Bad".
Photo by Sandra Lightburn. Copyright 2014.
"FRANKENSTINK! Garbage Gone Bad" is a fun monster-under-the-bed story and a cautionary tale about the need to compost and recycle. Inspired by the monster movies and comic books of his youth, this is the first book illustrated and written by Ron. It features a glow-in-the-dark cover with a poster on the reverse of the dustjacket. To be published by Tundra Books in March 2015.
www.tundrabooks.com/catalog/display.pperl?isbn=9781770496941
The dust jackets were printed on Moab Entrada Rag Bright 190, which comes in 13- by 19-inch sheets. I printed the background borderless on an Epson Stylus Photo R3000, so I only had to trim one side.
Henry Reed. Moby Dick: A Play for Radio from Herman Melville's Novel.. London: Jonathan Cape, 1947. Jacket design by Freda Nichols.
Read Henry Reed's Preface.
Charles Willeford is best known for his series of novels featuring hardboiled detective Hoke Moseley. The first Hoke Moseley book, Miami Blues (1984), is considered one of its era's most influential works of crime fiction. Film adaptations have been made of three of Willeford's novels: Cockfighter, Miami Blues and The Woman Chaser. According to crime novelist Lawrence Block, "Willeford wrote quirky books about quirky characters and seems to have done so with a magnificent disregard for what anyone else thought." [Source: Wikipedia]
Wrecked on Raroia Reef nera Tahiti.
The Kon-Tiki Expedition by Thor Heyerdahl 1950.
A team of Norwegian adventurers, led by Thor Heyerdahl, set out to drift a raft made of forest materials, from Equador to Polynesia, to test Heyerdahl’s theory that the Polynesians originated in South America.
The Kon-Tiki almost made the original destination, however was wrecked on the Raroia Reef off Tahiti.
Published by Allen & Unwin, London (1950 first English translation). Brown boards embossed with the Tiki symbol, and with illustrated dustjacket, 230 pages, 15 x 22cm.
Our Daily Challenge 9-15 February : Words or Text
The back of the jacket for Woman's World, by Graham Rawle
Death of a Salesman, Arthur Miller, Viking Press, Book Club Edition, 1942. This classic piece of American literature is in outstanding condition!
Final Major Project
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complete guidelines for the rebrand of Qatar Airways.
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working with arabic is a nightmare.
A heavy glossy dustjacket comes with the hardcover option. The barcode is Blurb's, not an ISBN number
James Avati, cover illustration for "Cordelia" by Winston Graham (dustjacket), Book Club Edition, Doubleday & Co., 1949
Landmark Books were a series of history books published in the 1950's for children. I loved reading them as a kid, but got most of them from the library where the had dull covers without dustjackets. I've been picking some up at thrift shops. I really enjoy the cover art, and since I seem to barely be able to make a dent in my monthly upload limit, I'm sharing them with you.
edited by Arthur Cravan.
Toronto, Letters Bookshop, 14 august 1997. 14 unique numbered copies.
4-1/2 x 6 x 4-5/8, this copy with 78 fascicules in handmade zephyr antique laid (found printed black offset) covered board box (only ⌗32 missing, with 14 variants)):
1. BEFORE DAWN, by Arthur Cravan; 14 august 1985, 112 copies (states 1oo) numbered in black pencil inside front cover; 4-3/16 x 5-3/8, 8 sheets white bond folded & stapled twice to 32 pp in selfwrappers, all printed black offset & numbered in black pencil inside front cover, in 4-3/16 x 5-1/2 series ad wrapper (UNEEDA) by Cravan, outside covers only printed black offset.
2. THE DEATH AND LIFE OF DOCTOR BETHUNE, by Fraser Sutherland; 23 january 1986, 149 copies (states 1oo); 4-1/4 x 5-1/2, 8 sheets white bond side-stapled twice, all printed black offset.
2. ____ unstated 2nd edition, 31 january 1986, 1o5 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
3. PISSED, by [Daniel] Jones; 5 march 1986, 1oo copies numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
4. happy CRISIS, by Geordie McDonald; 5 march 1986, 11o copies numbered in black pencil inside front cover; 4-1/4 x 5-3/8, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black offset.
4. ____ of 11o copies, 1/27 signed in red ballpoint inside front cover.
5. the poetry of our age, by David McFadden; 22 april 1986, 1o8 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
6. STRANGE TRAINS, by Kate Van Dusen; 22 april 1986, 1o5 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
7. EAT THIS, by Tim Dunn; 22 april 1986, 111 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 8 sheets white bond folded & stapled twice to 32 pp in selfwrappers, all, except rear cover printed black offset.
8. DEAD MAN'S SHOES, by Doug Fetherling; 22 april 1986, 117 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black offset.
9. 8 Lines on/of/as H's + 2 Alpha pairings, by bpNichol; 22 april 1986, 96 copies (states 1oo) numbered in black pencil on verso of title page; 4-1/8 x 5-1/4, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all except inside covers printed black offset.
9. ____ 2nd edition, 15 april 1994, 43 copies numbered in yellow marker inside rear cover; 4-1/4 x 5-1/2, 4 sheets peacock blue wove folded & sewn white in 2 stitches to 16 pp in selfwrappers, all except inside front cover printed black photocopy.
[1oa]. LET LITERATURE LANGUAGE, by Arthur Cravan; 27 may 1986, 5o copies; 4-1/4 x 5-1/2, single sheet white bond folded twice & stapled twice to 8 pp in selfwrappers, top folds uncut, all printed black offset.
[10b]. JUNK LiNE, by Arthur Cravan; 27 may 1986, 5o copies; 4-1/4 x 5-1/2, single sheet white bond folded twice & stapled twice to 8 pp in selfwrappers, top folds uncut, all printed black offset.
11. toivonen & cresto AND OTHER POEMS, by Martin Gray; 14 july 1986, 1o6 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all except rear cover printed black offset.
12. THE SOCK EXCHANGE, by Vic D'Or; 14 july 1986, 92 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-1/2, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all except rear cover printed black offset.
13. THE ANTI SELF, by Ron Gillespie; 14 july 1986, 124 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-3/8, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all printed black offset.
13. ____ 2nd edition, 19 july 1986, 13 copies numbered in red marker inside front cover; 4-1/4 x 5-1/2, 2 sheets white bond folded & sewn white in 2 double stitches to 8 pp in selfwrappers, all printed black photocopy.
13. ____ 3rd edition, 1o february 1994, 27 copies (states 26) lettered in red marker & signed in black marker inside front cover; 4-1/4 x 5-1/2, 2 sheets white xerographic bond folded & sewn white in 2 double stitches to 8 pp in selfwrappers, all printed black photocopy.
14. LONGER SONG ABOUT A LITTLE MACHINE, by Brian Brett; 15 july 1986, 1o5 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-1/4, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all except rear cover printed black offset.
15. on the TAKE, by James Loverde; 14 july 1986, 125 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black offset.
16. rImbAud'S twISted baLLS, by John Oughton; 14 july 1986, 12o copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-3/8, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black offset. includes a translation of Antonin Artaud.
17. STRIPS, by Brian Purdy; 14 july 1986, 119 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
18. sinillogical translations volume seven THE SINO-ANDALUSIAN TRANSLATIONS, by jwcurry & Mark Laba; 14 july 1986, 119 copies (states 1oo) numbered in black pencil inside front cover; 4-1/8 x 5-3/8, 4 sheets white bond folded & stapled twice to 16 pp in selfwrappers, all printed black offset.
19. LITERATURE DEPOSIT, by Gerry Gilbert; 3 july 1987, 1oo copies numbered in black pencil inside front cover; 5-1/2 x 4-1/4, 2 sheets white xerographic bond folded at top & sewn pink in 2 double stitches to 8 pp in selfwrappers, all except rear cover printed black photocopy.
2o. WHORE WAR I, by Maureen Paxton; 5 july 1987, 99 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & sewn pink in 2 double stitches to 16 pp in selfwrappers, all printed black photocopy.
21. SIX MORE, by August Kleinzahler; 9 july 1987, 97 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 3 sheets white xerographic bond folded & sewn burgundy in 2 double stitches to 12 pp in selfwrappers, all except both rear covers printed black photocopy.
22. THIRTEEN TALES OF LOVE, by Linda Rivers; 7 july 1987, 1oo copies numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & sewn pink in 2 double stitches to 16 pp in selfwrappers, all except rear cover printed black photocopy.
23. art, by Arthur Cravan; 1o july 1987, 25 copies numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 16 sheets white xerographic bond folded to 64 pp & sewn black in 2 stitches in 4 signatures of 4 sheets each, glued into plain 4 x 5-1/2 olive green laid endpapers & 8-1/2 x 11 white xerographic bond sheet folded twice as covers, all except back covers printed black photocopy, in 6-1/2 x 5 white bond envelope with 2-3/8" triangular gummed flap, outside flap only printed black typescript.
24. SHIT, by John Riddell; 15 march 199o, 1oo copies numbered in red marker at colophon rear; 4-1/4 x 5-1/2, 88 sheets white xerographic bond perfectbound into plain white rectoclaycoat wrappers, all except 7 pp (iv, viii, xii, last 2 leaves) printed black photocopy with 3-1/2 x 4 white textured toilet paper colophon leaf printed black typescript with unique brown ink smear tipped at corners to recto of last leaf, in white xerographic bond dustjacket with 2-5/8" flaps, all outsides printed black photocopy; cover graphic by Chester Brown, jacket blurbs by Arthur Cravan.in white xerographic bond
25. TIPS from the poets' quarter, by Arthur Cravan; 31 july 1987, 32 copies numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 8 sheets white xerographic bond folded & sewn tan in 2 double stitches to 32 pp in selfwrappers, all printed black photocopy. with a contribution by bpNichol.
26. THINGTALK, by Arthur Cravan; 23 september 1987, 27 copies numbered black typescript inside front cover, issued as Handjobbie 1; 4-1/4 x 5-1/2, single sheet white xerographic bond folded to 8 pp & sewn grey in 2 double stitches to 8 pp in selfwrappers, all printed black typescript.
27. A Signature Of Poetry, by Charles Bukowski; 2nd edition, 29 september 1987, 66 copies numbered in red marker inside front cover; 4-1/4 x 5-1/2, 6 sheets white xerographic bond folded & sewn white in 2 double stitches to 24 pp in selfwrappers, all except rear cover printed black photocopy. illustrations unID'd.
28. CCMC with Steve McCaffery (Sketching 2), by bpNichol; 17 march 1988, 177 copies (states 2oo) numbered in red marker verso title page; 4 sheets white xerographic bond folded & sewn white in 2 double stitches to 16 pp in selfwrappers, all,except inside & rear covers printed black photocopy.
29. BROKEN LIES, by Paul Haines; 2o april 1988, 114 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & sewn white in 2 double stitches to 16 pp in selfwrappers, all except rear cover printed black photocopy.
3o. a fake novel about the life of arthur rimbaud, by Jack Spicer; 8 october 1988, 3o copies numbered in red marker inside front cover; 4-1/4 x 5-1/2, 8 sheets white xerographic bond folded & sewn white in 2 double stitches to 32 pp in selfwrappers, all printed black photocopy.
31. The Mysteries of SAM – Explained – Expose An Unexpurgated Biography, by Richard Shoe; 8 october 1988, 23 copies; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & sewn white in 2 doublestitches to 16 pp in selfwrappers, all printed black photocopy.
[32: missing: the man with seven toes, by Michael Ondaatje]
33. MY FAIR LADY, by Peter Stevens; 19 september 1989, 1o7 copies (states 1oo) numbered in black pencil inside front cover; 4-1/4 x 5-1/2, 2 sheets ivory bond folded & stapled twice to 8 pp in selfwrappers,all except rear cover printed black photocopy. cover by Arthur Cravan.
34. THE NEMIS WHO LOST HIS FUR, by Amber Fritz-Drumbolis; 7 march 199o, 97 copies; 4-1/4 x 5-1/2, 2 sheets ivory bond folded & sewn white in 2 doublestitches to 8 pp in selfwrappers, all printed black photocopy. afterword by Nicky Drumbolis.
35.wash your pictures away from you as far as you can, by Daniel F.Bradley; 26 september 1989, 97 copies (states 1oo) numbered in red marker inside front cover; 4-1/4 x 5-1/2, 2 sheets whte xerographic bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black photocopy.
36: jean nicolas arthur rimbaud, by Arthur Cravan; 2nd edition, 31 october 1991, 1o3 copies (states 1oo) numbered in red marker inside front cover; 4-1/4 x 5-1/2, 2 sheets white bond folded & stapled twice to 8 pp in selfwrappers, all except rear cover printed black photocopy.
37. the i love lucy manuscript, by Marshall Hryciuk; 9 november 1992, 94 copies (states 1oo) numbered in black ink inside rear cover; 4-1/4 x 5-1/2, 6 sheets white xerographic bond folded & sewn white in 2 double stitches to 24 pp in selfwrappers, all except inside front cover printed black photocopy; cover graphic by Susan Fritz.
38. DWINDLES OF CUNT AN EPIC HYSTEREC TOMY IN TWO FITS, by Arthur Cravan; 9 february 1993, 1o5 copies (states 1oo) numbered in red marker rear cover; 4-1/4 x 5-1/2, 2 sheets ivory zephyr antique laid folded & sewn white in 2 double stitches to 8 pp in selfwrappers, all printed black photocopy with red ink addition to front cover.
39. THE ALL NEWS LIFE, by Robert Flanagan; 2 april 1993, 1o5 copies numbered in red marker inside front cover; 4-1/4 x 5-1/2, 4 sheets filamented grey Classic Laid folded & sewn white in 2 double stitches, all printed black photocopy. with 2 cover & 2 interior graphics by Maureen Paxton.
4o. An Alphabet of Lipograms, by Victor Coleman; 2nd edition, 17 march 1993, 11o (states 1oo) copies numbered in lime marker on rear cover; 4-1/4 x 5-1/2, 2 sheets tan Strathmore Writing folded together twice & sewn cream in 2 double stitches, inside sheet cut at top to yield 8 pp in doubled cover, all except inside front cover & cover fold-ins printed black laser.
41. A TASTE, by P.Cob; 23 april 1993, 1oo copies numbered in red ink inside front cover; 4-1/4 x 5-1/2, 2 sheets grey bond folded & sewn grey to 8 pp in selfwrappers, all printed black photocopy.
42. FAKE NOVEL, by Arthur Cravan; 2nd edition, 8 april 1993, 1o5 copies (states 1oo) numbered in lime marker inside front cover; 5-1/2 x 4-1/4, 6 sheets white xerographic bond folded & sewn white in 2 double stitches to 24 pp in selfwrappers, all except rear cover printed black photocopy.
43. the poverty of breathing, by Ron Giii; 24 march 1993, 1o6 copies (states 1oo) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 5 sheets white xerographic bond folded & sewn white in 2 double stitches to 2o pp in selfwrappers, all except p.vi & rear cover printed black photocopy.
43. ____ variant, the cover printed 2-up with differing tears to the title cut.
44. ECOLOGICODDLE, by jwcurry; 8 january 1994, 1o1 copies (states 1oo) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 2 sheets white xerographic bond folded & sewn white in 2 stitches to 8 pp in selfwrappers, all printed black photocopy. rear cover photo by Lance LaRocque.
45. OH NO ... A SELECTION FROM THE WORDS OF, by John Laughlin; 9 january 1994, 1o5 copies (states 1oo) numbered in purple rubberstamp inside rear cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & sewn white in 2 stitches to 16 pp in selfwrappers, all except rear cover printed black photocopy.
46. the backwards HAT theatre a Portuguese tour of the impulse, by Ron Giii; 12 march 1994, 124 copies of 15o numbered in lime marker inside front cover; 4-1/4 x 5-1/2, 2 sheets white xerographic bond folded & sewn white in 2 stitches to 8 pp in selfwrappers, all printed black photocopy.
46. ____ 26 copies of 15o lettered in purple rubberstamp & signed in black ink inside front cover.
47. ALVIN KARPIS Public Enemy Number One, by Ted Plantos; 13 march 1994, 128 copies of a stated 15o numbered in lime marker inside rear cover; 4-1/4 x 5-1/2, 2 sheets white xerographic bond folded & sewn white in 2 stitches to 8 pp in selfwrappers, all except rear cover printed black photocopy.
47. ____ 26 copies of a stated 15o lettered in purple rubberstamp & signed in olive green ink inside rear cover.
48. ON A PHOTOGRAPH OF EZRA POUND | SOBRE UNA FOTOGRAFÍA DE EZRA POUND, by Ludwig Zeller, with facing translation by A.F.Moritz; 21 april 1994, 225 copies (of a stated 25o) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 4 sheets ivory zephyr antique laid folded & sewn cream in 2 stitches to 16 pp in selfwrappers, all except cover versos & last page printed black laser.
48. ____ 26 copies with plain purple wove endpapers, lettered in red marker & signed in black ink by author & translator inside rear cover.
49. back lane letters, by bpNichol; 2nd edition, 28 april 1994, 2oo copies numbered in purple rubberstamp inside rear cover; 4-1/4 x 5-1/2, 8 sheets grey bond folded & sewn white in 2 stitches to 32 pp in selfwrappers, all except cover versos & last page printed black photocopy.
(49). IRATA, by Arthur Cravan; 17 may 1994, 5o copies numbered in purple rubberstamp rear cover issued as Snore Comix 8; 4-1/4 x 5-1/2, single sheet grey bond folded to 4 pp leaflet, all printed black photocopy with blue rubberstamp addition to front cover. issued as an errata leaf to back lane letters.
5o. RINDCITE a bio GRAFT of the enigmatic littleman DfB, by Arthur Cravan; 1 september 1994, 5o copies numbered in purple rubberstamp inside rear cover; 4-1/4 x 5-1/2, 7 sheets white xerographic bond folded & sewn white in 2 stitches to 28 pp in selfwrappers, all printed black photocopy. photography unacknowledged by possibly by John Harley(?).
51. A HUNDRED THOUSAND GOODBYES, by C.F.Kennedy; 2nd edition, 25 june 1994, 1o1 copies (states 1oo) numbered in red ink inside rear cover; 4-1/4 x 5-1/2, 2 sheets green-flecked & filamented tan wove folded & sewn cream in 2 stitches to 8 pp in selfwrappers, all except rear cover printed black photocopy.
52. RUNAWAY BOOK, by Antje Meyer-Erlach; 27 june 1994, 1oo copies numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded with plain russet kraft endpapers & sewn white in 2 stitches to 16 pp in selfwrappers, all except lefthand centerpage & rear cover printed black photocopy with red addition to front cover.
53. MY MOTHER LOVED TO DANCE THE TANGO, by Leonard Gasparini; 13 september 1994, 1o6 copies (states 1oo) numbered in red marker at colophon rear; 4-1/4 x 5-1/2, 4 sheets ivory zephyr antique laid folded & sewn cream in 2 stitches to 16 pp in selfwrappers, all except 5 pp (inside front cover, [12], last page & both rear covers) printed black laser.
54. COVERED, by Alice Burdick; 11 november 1994, 132 copies (of a stated 15o) numbered in red marker on last page; 4-1/4 x 5-1/2, 2 sheets ivory zephyr antique laid folded & sewn pink in 2 stitches into cherry byronic brocade card wrappers with deckled leading edge to front cover, all interiors except p.2 printed black laser with green foamstamp addition to title page, front cover only printed blue foamstamp.
54. ____ 26 copies lettered in red marker & signed in black pencil at colophon.
55. WALK TO THE NEXT TOWN an excerpt from the longer sequence Told to Me, by Fred Gaysek; 11 november 1994, 1o3 copies (states 1oo) numbered in turquoise ink on last page; 4-1/4 x 5-1/2, 3 sheets ivory zephyr antique laid folded with plain grey coarsewove endpapers to 12 pp in selfwrappers, all interiors & front cover only printed black photocopy.
56. BEYOND THE RANGE OF STANDARD SELECTED WORKS, by Peggy Lefler; 3o january 1995. 32 copies numbered in red ink holograph at rear colophon; 4-1/4 x 5-1/2, 16 sheets white xerographic bond & 4 sheets white plainfield folded to 8o pp in 5 signatures (2 plainfield sheets in each of 3rd & 4th), sewn white in 2 stitches & glued into plain purple Momi Kon endpapers & white Cornwall card wrappers printed yellow, red & purple rubberstamp front cover only with deep green rubberstamp wrapping onto spine, all white interiors printed black photocopy except 8 pp in 4-colour process photocopy & one in Lefler's black pencil holograph; contributions by Steve Banks, Dave Beach, John M.Bennett, Arthur Cravan, jwcurry.
57. RAVENS & other poems, by George Miller; 12 december 1994, 118 copies (states 1oo) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 2 sheets ivory zephyr antique laid folded twice together & sewn cream in 2 stitches, inside sheet cut at top to yield 8 pp in doubled selfwrappers, all interiors & cover rectos only printed black photocopy.
57. ____ 1/16 variants with vertical grain to the paper.
58. A MEMORIAL, by Fraser Sutherland; 12 december 1994, 1o7 copies (states 1oo) numbered in red ink inside rear cover; 4-1/4 x 5-1/2, 2 sheets ivory zephyr antique laid folded & sewn cream in 2 stitches to 8 pp in selfwrappers, all except 2nd leaf (printed both sides) printed black offset rectos only.
[--]. 1995 smallpress bookfair directory, edited by Nicky Drumbolis; 27 may 1995, 387 copies issued as List 99; 4-3/8 x 5-1/2, 24 sheets ivory bond perfectbound into filamented ivory heavy bond wrappers,all except inside covers printed offset, interiors in green in black covers. cover photo by D.M.Owen.
59. apathy, by Joe Blades; 7 august 1995, 113 copies (states 1oo) numbered in red ink inside rear cover; 4-1/4 x 5-1/2, 2 sheets white xerographic bond folded & stapled twice to 8 pp in selfwrappers, all except cover versos printed black laser.
6o. bink bank bunk, by Ron Giii; 7 august 1995, 1o4 copies (states 1oo) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & stapled twice to 16 pp in selfwrappers, all except rear cover printed black laser.
61. my valentine, by Len Gasparini; 14 february 1996, 221 copies (states 2oo) numbered in red marker inside rear cover; 4-1/4 x 5-1/2, 2 sheets speckled pale grey byronic brocade folded & sewn white in 2 stitches to 8 pp in selfwrappers, all except cover versos printed black laser.
62. ROUND TABLE, by Nelson Ball; 22 april 1996, 217 copies (of a stated 24o) numbered in red marker on last page; 4-1/4 x 5-1/2, 5 sheets ivory zephyr antique laid folded to 16 pp in french-fold wrappers, all interiors & front cover only printed black laser.
62. ____ 26 copies with plain filamented seagreen Fabriano Ingres endpapers, lettered in red marker & signed in black ballpoint.
63. twobitter index 1985-1996, by Nicky Drumbolis; 14 august 1996, 32 copies numbered in red marker inside rear cover, issued as List 1o6; 4-1/4 x 5-1/2, 4 sheets white xerographic bond folded & stapled twice to 16 pp in selfwrappers, all except cover versos & last page printed black laser.
64. AN INVENTORY OF TWOBITTER SETS, by Nicky Drumbolis; 29 july 1997, 14 copies numbered in red marker on rear cover; 4-1/4 x 5-1/2, 6 sheets grey Strathmore laid folded & sewn white in 2 stitches to 24 pp in selfwrappers, all printed black laser with red rubberstamp addition to front cover.
___________________________
• see links to individual entries for lists of contents
• 1oa, Athur Cravan's LET LITERATURE LANGUAGE, reprinted by curry in 1987 & 2oo1 & in french transation by Carole Limoges as LAISSEZ LITTERATURE LANGAGE in 1998
Edinbugh: Mainstream Publishing, [2009]. Hardback, pictorial boards and pictorial dustjacket. ISBN 9781845965549. 220 pages plus 37 pages of reproductions from comics from The Boys Own Paper to Warlord and includes front covers from The Hotspur and Lion. Lavishly illustrated thoughout. Condition: New.
When the Comics Went to War is a colourful, authoritative history of the British war comic-book genre, from the first publications to appears in the 1860s to the last wave of new titles in the mid-1980s.
Featuring a wealth of materrial sourced from the original boys' comics and story-papers, this lavishly illustrated book charts the evolution of warfare as children lived through it, from the Boer War and the Great War of 1914-18 to the rise of the Nazis and the Second World War - and much more besides.
In the late 19th century, war comics had such a powerful effect on readers that they acted as recruitment tools for the British Army and Navy, inspiring young men to sign up to serve their country. Their popularity grew substantially throughout much of the 20th century, with titles such as Champion, The Wizard, Victor and Tiger achieving huge weekly sales from the 1950s to the 1970s. While the genre experienced a sharp decline in the late 1980s, by 2009 many vintage war comic titles were being resurrected and reprinted in significant numbers - a testament to their enduring popularity.
From Union Jack and Boys of the Empire to Battle and Combat, this unique and nostalgic celebration of war comics will jog the memories of older readers and introduce the magic of these war stories to a whole new generation.
The newly-wed adventurers.
The Voyage of the Waltzing Matilda by Philip Davenport 1953.
The newly-wed Philip and Roz Davenport, sailed around a major part of the World in a small 46’ Bermudian Cutter with a 53’ mast, leaving Sydney Harbour on October 1950. The cutter had just been constructed in Tasmania for the three adventurous Sydney brothers: Jack, Philip and Keith Davenport, who had all seen service as bomber pilots during World War 2 with the Royal Australian Air Force. Accompanying the 32 year-old Philip, and his wife Roz, was his brother, Keith and a sailing friend, Don Brown.
The Waltzing Matilda, named after a popular Australian folk song, visited New Zealand, Chile, Argentina, and Brazil along the way before finishing in London in late 1951.
Published by Hutchison of London. Brown cloth boards with illustrated dustjacket, 232 pages 14cm x 22cm.
trove.nla.gov.au/ndp/del/article/18517571 Roz Davenport’s interview about the journey from the (Sydney) Sunday Herald 30th November 1952.