New Arrivals at Veery Books
- Meiselas, Susan; Inturismo
Nicaragua un país que se descubre
N.I. [Inturismo?], N.P., N.D., , , , Very Good /
N.P.: N.I., N.D. [1979?]. Offset lithograph poster. [27¾ x 21 inches]. Wear to edges, pinholes on corners, Very Good. The photograph is the work of Susan Meiselas, credited on the poster. "Ocultando su identidad detras de su mascaras tradicionales, nativos del rebelde barrio Monimbo de en Masaya, preparan bombas de contacto para combatir el ejercito de la Dictadura, durante la Guerra de Liberacion." (Foto de Susan Meiselas) Rough translation: Nicaragua a country that discover itself: Inturismo. Hiding their identity behind their traditional masks, natives of the rebel Monimbo neighborhood in Masaya, prepare contact bombs to combat the army of the Dictatorship, during the War of Liberation." Appears at first glance to be a tourism poster, but is seemingly an ironic parody of such. One of a series wryly praising colonial architecture and other similarly inappropriate national artifacts. Meiselas's image appeared on the cover of The New York Times Magazine on June 30, 1978 as seen here, and is inexplicably flopped from how it appears in Meiselas's book, Nicaragua, June 1978 – July 1979. All posters are presently stored between acid free boards, flat, under weight. They will be shipped rolled, in tubes.
- Fahlstrom, Oyvind
Column No. 1 (Wonderbread)
Artist's Poster Committee, New York, N.D., , , , Very Good /
Four-color offset lithograph on paper. [28-1/8 x 23-1/4 in. (71.4 x 59.2 cm)], one of a printing of 4,000. From a series of four works titled "Column" the others were named Column no. 2 (Picasso 90), Column no. 3 (Chile-F), and Column no. 4 (IB-affair). The title refers to their likeness to newspaper columns: full of facts, but a colorfully cartooned map of textual facts. The artist’s signature is reproduced in the lower right. Very Good.
Strangers in the Night: Foreign Agents Series.
Semiotext(e), New York, [1983?], , , , very good /
Foreign Agents Series. Philosophy Hall, New York, N.Y. 10027: Semiotext(e), . Lithographic poster on thin clay stock. Ripling throughout from rolled storage. Small tears to edges, repairable, generally very good appearance belied here, in this description, by difficulty in reproducing photographically. [35 x 23 inches]. The Foreign Agents Series, “established in 1983, [a] series of subversive French cultural theory, [that] infiltrated American shores and an unsuspecting academe, originally in the form of their now-iconic little black pocket-sized books. This was the series that helped introduce into English such characters as Gilles Deleuze, Felix Guattari, Paul Virilio, Michel Foucault, and most famously in the Semiotext(e) lineage, Jean Baudrillard.”—MIT Press. “It was strangers in the night. People I met would be strangers, and I would get to know them. Like foreigners—the Foreign Agents series, which we created with Semiotext(e). A ‘foreign agent’ is the administrative phrase for a spy. And those spies are the people I wanted to be with. It was the person I was. I wanted to have a sort of covert action. Even parties were part of that—a covert action to the intellectual world. I wanted to create a special America, . . . a place, with Columbia, academia, artists, Harlem, music, dance, art—there was so much to take in and bring somewhere else. That’s what I did. The fact that I was a stranger to all was very helpful. I had no prior connection. People I met, I met them not because they were part of this or that, but just because I liked their work or I liked them. It was more pragmatic, and that’s why I felt I was more American than the Americans because the Americans were not pragmatic enough.”—Sylvère Lotringer, founder of Semiotext(e). The background of the poster, though difficult to photograph, is columns of text. Black type on a black background. This design, begun in 1983, was an iconic sign of the Foreign Agent Series, appearing on the covers of On the Line (1983: Deleuze, Guattari); Pure War (1983: Virilio, Lotringer); In the Shadow of the Silent Majorities, or, The End of the Social and Other Essays (1983: Baudrillard); Simulations (1983: Baudrillard, Foss); Behold Metatron (1985: Yurick); Assassination Rhapsody (Pell: 1989); Popular Defense and Ecological Struggles (1990: Virilio); Remarks on Marx (1991: Foucault, Trombadori); and many others. The text in the columns of the design is from the Foreign Agents Registration Act (FARA) of 1938, which requires persons working for foreign agencies to register their status with the Department of Justice so that conflicts of interest may be monitored. This, ironically, is one of the snags by which Lieutenant General Michael Flynn allowed himself to be caught: working for foreign governments without informing the DOJ in writing. Worldcat finds no copies of this poster and none seem to be offered in the trade.
- Mu Xin (1927-2011), Richard M. Barnhart, Jonathan Hay, Wu Hung, Alexandra Munroe.
The Art of Mu Xin: Landscape Paintings and Prison Notes.
Yale University Art Gallery; David and Alfred Smart Museum of Art, University of Chicago, New Haven, London, Chicago, 2001, Hardcover, , , Fine /Very Good
150 pp. 36 plates, some with full-page details, numerous figures, some in color. Nine pages of reproducing more than 60 pages of ms. Prison notes. Folio [14.75 x 14 inches]; VG/F. Matte black dust jacket makes a good impression however shows minor rubbing and bumping easily, else fine. Foreword and acknowledgements--Kimerly Rorschach and Jock Reynolds; Preface--Robert Rosenkranz; Palimpsest: nearby Mu Xin--Alexandra Munroe; Landscape painting at the end of time--Richard M. Barnhart; Mu Xin and twentieth-century Chinese painting--Jonathan Hay; Reading Mu Xin: an exile without a past--Wu Hung; Tower within a tower: Landscape paintings, Prison notes [Mu Xin]; Passages from the Prison notes--translated by Toming Jun Liu; A dialogue with Mu Xin--Toming Jun Liu; Mu Xin: an annotated bibliography. The 33 landscape paintings and the prison notes were produced in the late 1970s during the Cultural Revolution in China while he was imprisoned and then under house arrest. “Mu Xin wrote the Prison Notes in miniscule characters on purloined paper provided for ‘self-criticism,’ which he then rolled up and sewed into his prison garb to avoid detection”—from the preface. The notes contain imaginary dialogues between historical cultural figures such as Aristotle and Dostoyevsky. Mu Xin (??) is the pen name of Sun Pu (??). Mu Jin is a Buddhist expression meaning “educator with a true heart)
- Robert Frank; Jack Kerouac
The Americans: Photographs by Robert Frank
Pantheon, New York, 1986, Hardcover, , First thus, Fine /Near Fine
174,  pp. Lovely hardcover in black cloth with a little bit of mussing on the dj. Now protected in an archival wrap. "First Pantheon Edition" on verso of TP and 2/86 Printed in Switzerland at bottom of back flap. Brochure for the show "Robert Frank: New York to Nova Scotia" opening on Feb. 15, 1986, at the Museum of Fine Arts, Houston, laid in (9" tall, 5 panels four folds, 8 photos).
- Eugene Ruggles (1935–2004)
The Leg in a Greyhound Cafe
NI, NP, between 1972 & 1975, , , , Fine /
[12 x 9 inches], one leaf, laid paper, fine. Verso blank. With cartoon image of Richard Nixon releasing a shower of medals (uncredited). Ruggles was a longtime San Francisco poet and activist; he was born in Pontiac, Michigan, and grew up on a dairy farm. " 'Gene's most astounding characteristic is his heart,' said his longtime friend, poet Lawrence Ferlinghetti. 'He really empathizes with the downtrodden and the down-and-out.' "—SFGate The left trouser leg of that young black marine folded and pinned shut with a medal, is another eyelid filled with Nixon's sleep . . .—from the broadside
- Israel Beilin aka Irving Berlin
I'll See You in C-u-b-a
Irving Berlin, Inc. Music Publishers, New York, 1587 Broadway, 1920, None, , , Very Good+ /
[cover, ad] 3-5 [ad] pp. [12¼ x 9¼ inches]. Artist, RS . Colors perhaps a little subdued, but the original palette is rather earthy. Spine artfully repaired with Japan paper. The ad on the verso of the cover is for "My Sahara Rose." "Ever since the U. S. A. went dry everybody's going there and I'm going too." No, not the Sahara! "I'm on my way to Cuba, . . . where wine is flowing and where dark eyed Stellas light their fellers panatellas." The song was later repurposed in the 1946 Musical Blue Skies, starring Bing Crosby and Fred Astaire. Some copies in institutional repositories but relatively scarce in trade.
- Che Guevara
Vinceremos!: The Speeches and Writings of Ernesto Che Guevara: Edited, Annotated, and with an Introduction by John Gerassi
Macmillan, New York, 1968, Hardcover, , 1st ed., 1st printing, Very Good /Very Good
442 pp. Large 8vo, (2 lbs, 3 oz), first edition, first printing. Very good book in very good dj with only slight wear. Signed by PO with date: June 27, 1968. "Each nation liberated is a step for the liberation of one's own country."
- Richard Meryman
Houghton Mifflin Company, Boston, 1968, Hardcover, , 1st ed., 1st printing, Fine /Very Good
175 pp. First edition, first printing. A clean, near fine volume price-clipped at the top although the price ($75) is found at the bottom of the front flap. Previous owner signed and dated (1968) on the half title. The dust jacket was torn completely from top to bottom of the spine, then stored folded within the book. The tear has since been repaired with japan paper to be practically unnoticeable from the outside. The crease on the front is visible, and is now protected in an archival wrap, but doesn't really detract from the stunning effect of the presentation. The interior is about fine. The reproduction of the art was done at Triton Press in New York, typography by Rudolf Ruzicka. Union Camp Corporation printed the engraved plates in Englewood, New Jersey, Robert Clive is responsible for the layout. The paper is University Text, cover fabric Bolton Buckram, and the book was bound by A, Horowitz & Son in Clifton, New Jersey. Fine crafting still making a good impression.
- Randall Thompson (1899–1984) [after Kenneth Grahame]
The Wind in the Willows
n.i., n.p., ca. 1925, none; 15 leaves folded, , , Very Good /
after Kenneth Grahame's The Wind in the Willows 15 black line print (diazotype) leaves [22? x 11³??? inches], folded in half to form four parts (I Violin, 1–6 pp.; II Violin , 2–7; Viola , 2–7; Violoncello , 2–6, ). The parts are in very good condition, with little discoloration or soiling. A couple of creases, signs of paper clip rust. Randall Thompson is probably best-known among choristers. His "Alleluia" for a cappella chorus has extraordinary popularity and is performed often. Unlike Handel's Hallelujah, Thompson's is quiet and expansive, evoking solemn contemplation. "The Wind in the Willows" for string quartet was composed in the second year of Thompson's residence at the American Academy in Rome. The three movements were written in February and March and the quartet was premiered by the Quartetto Veneziano on March 15, 1925. The string quartet is complete in three movements: I = River bank, 2 = Toad, Esq., 3 = The Wild Wood. In notes for a performance at the Boston Public Library by the Musical Arts Quartet, Thompson said of "River Bank," "the River was their God and its banks of reeds and willows whispered and made music for them." Mr. Toad was described as "an irrepressible poetizer." In the third movement Moley gets lost in the woods and Ratty finds him. They find a hole in the woods and sleep, dreaming of the summer, reeds and willows by the river, as it snows in the woods above. The Wind and the Willows quartet enjoyed some popularity from 1927 to 1941. It was performed by at least eight different string quartets. The Wind in the Willows quartet was never published, and because Thompson's two subsequent string quartets, the first a commission by Elizabeth Sprague Coolidge, were published, this early quartet began to slip into oblivion until score and parts were published in 2017 by ECS Publishing. The score and the parts for the original performance in Rome are lost. Sketches for the quartet may be found in Thompson's Nachlass at Harvard University Houghton Library. Sketches for Mvt. 2 were damaged when Thompson left them in the rain. In a copyist's hand, manuscript parts are at the Library of Congress. "This day was only the first of many similar ones for the emancipated Mole, each of them longer and full of interest as the ripening summer moved onward. He learnt to swim and to row, and entered into the joy of running water; and with his ear to the reed-stems he caught, at intervals, something of what the wind went whispering so constantly among them.—from The Wind in the Willows, Kenneth Grahame, Chapter I. The River Bank.
- James Laughlin
Yes! Press, Portland, Oregon, 1971, Other: Broadside. 1 sheet, , , Fine /
1 leaf, printed on recto, 7 x 11 inch. A small blot on verso, not visible from the front. No. 3 in series of free poems for your pleasure . . . "The woodpecker on our television aerial is not alone in his praise . . . "
- Gian Francesco Malipiero; Luigi Pirandello
La favola del figlio cambiato [The Fable of the Exchanged Son]
Ricordi & Cie., Milano, 1933, Hardcover, , , Very Good /
Facsimile of the composer's manuscript of the full conductor's score of the opera. Plate number 122941. Ricordi's blind stamp to the first pages indicates that the score was printed in October, 1933. Elegant paper-covered boards with recessed paper label. Previous owner's stamp on ffep. Light wear to extremities of binding. A beautiful and important manuscript facsimile difficult to find in the market at this time. In the middle of the night, witches swap children in their cribs. The witches replace the fat, healthy son of the mother with the king's sickly child. The child taken as the king's and living in luxury struggles to find happiness and in the end escapes to the country where he is near his mother. "Devo esser creduta! Anche Dio non si vede e si crede! E chi ora ride certo non vide il mio bambino com'era.""I must be believed! Even God is not seen and believed! And whoever laughs now certainly did not see my baby as he was. "
- Henry Wadsworth Longfellow
The Courtship of Miles Standish and Other Poems
Ticknor and Fields, Boston, 1858, Hardcover, , , Very Good /
215 pp. Quarter leather with gilt-lettered spine, marbled boards and endpapers. Leather scuffed at extremities, but still pleasant. Title page gives 1859 date, verso of TP, 1858. Ads probably removed for binding.
O my songs! whose winsome measures
Filled my heart with secret rapture!
Children of my golden leisures!
Must even your delights and pleasures
Fade and perish with the capture?
Fair they seemed, those songs sonorous,
When they came to me unbidden;
Voices single, and in chorus,
Like the wild birds singing o'er us
In the dark of branches hidden.
Must each noble aspiration
Come at last to this conclusion,
Jarring discord, wild confusion,
Not with steeper fall nor faster,
From the sun's serene dominions,
Not through brighter realms nor vaster,
In swift ruin and disaster,
Icarus fell with shattered pinions!
Sweet Pandora! dear Pandora!
Why did mighty Jove create thee
Coy as Thetis, fair as Flora,
Beautiful as young Aurora,
If to win thee is to hate thee?
--Epimetheus, or the Poet's Afterthought
- John Sayles
Haymarket Books, Chicago, 2020, Hardcover, , 1st ed, 1st printing, Fine /Fine
416 pp., 8vo, (9.25 x 6.25 in.) Fine/Fine, in mylar cover. First edition, first printing. DJ now in an archival cover. Sayles is a "fiction writer, screen writer, actor, and feature film director. . . . He has written more than one hundred screenplays and has twice been nominated for an Academy Award for Best Original Screenplay." "Ruby wishes it wasn't in the Three Nations' office. Even the casino would have been better, and maybe more appropriate, given the way she feels about Skiles. But as many times as she's explained to the Chairman how important it is to keep reservation business and his new private venture absolutely separate, he insisted on the signing being on his home court."
- Bill Berkson
N.I., N.P., N.D., none, , , Fine /
One leaf, 10.25 x 7.25 inches. Signed.
- Dzekas Keruakas [Jack Kerouac]
Kelyje: Romanas [On the Road]
“Sviesa”, Kaunas, Lithuania, 1991, Hardcover, , , Very Good /
248 pp. Quarter cloth, illus. paper-covered boards. Little wear to exterior, pages starting to tan near edges, but still quite flexible. PO inscription in Lithuanian on the FFEP. On the Road--in Lithuanian. Worldcat finds a copy in France and one in Germany. A short essay in Lithuanian on Kerouac and his novel. A Paaiškinimai [appendix, literally, explanations, but most like a glossary]. Greihaundas, Houboukenas, Belvju, Bronksas et cetera. Along with On the Road, Signet, 25th anniversary edition, 30th printing, or so, included as a guide on the road. Learn Lithuanian!